• A SIGNIFICANT SIGNATURE OF NATURE •
The Sine Wave
Many of the conceptual diagrams presented in this study are devoted to presenting a theoretical model of existence that attempts to describe the essence of being that surrounds and contains every manifest entity in the universe. But there is more to this theoretical model than just describing static lines of force that emanate from a core. The same model can also be used to describe paths of progress through events in time, as was pointed out with The Cosmic Engine analogy and the Funnel, Tunnel, Maze diagram.
Whether occurring in short intervals or long intervals, events in time become entities unto themselves, with beginnings, middles and ends. With or without satisfactory closure, events in time can be defined with the same theoretical parameters as a static manifest entity. When an event in time is viewed as an entity to be experienced, as a dynamic sequence of ideas, a predictable pattern of progress results. We pass through an event in time, just as if it were a manifest entity. We know nothing of it. We encounter it. We drill through its mass. We reach its conclusion. We leave it behind.
Here is a diagram that describes several important concepts regarding the number line of numerology as an event over time. In it, you will see how the number line describes both a static model of ideas concerning the parameters of existence, as well as a signature of nature that is seen in events that occur over time. Described here with deliberately and purposefully abstract terminology, followed (in parentheses) by a more subjective progression of sexual encounter, and below that [in brackets] as a progression of creative thought, both of which vividly display the characteristically explosive end, the smoking gun which informs us of the existence of this pattern's influence.
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The number line describes both a static model of ideas concerning the parameters of existence, as well as a signature of nature that is seen in events that occur over time. Described here with deliberately and purposefully abstract terminology, followed in parentheses be a more subjective progression of sexual encounter, and below that, in brackets, as a progression of creative thought, both of which vividily display the characteristically explosive end... the smoking gun which informs us of the existence of this pattern's influence.
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The Cosmic Engine analogy was good, and the Funnel, Tunnel Maze diagram was helpful for visualization, but visually, they were somewhat linear. This diagram employs a sine wave shape to emphasize the dynamic nature of progressive models that reveal events occurring over time. With this model you are asked to imagine the number line as a wave. Imagine it having weight, like a roller coaster! Steps 1, 2 and 3 are virtually instantaneous. Steps 4, 5 and 6 are more mechanical. Steps 7, 8 and 9 are virtually instantaneous.
This diagram is of course a highly idealized and highly stylized representation of a complex process that does not always occur in such perfectly spaced and perfectly timed increments. However, as a simplified map of ideas, this diagram is great for visualizing several important concepts that the number line of numerology attempts to describe. The most fortunate being the way the roller coaster idea conveys the immediate and direct nature of the first three, and last three concepts. This not only shows how creation of an idea [Formulation] comes in like a lightning bolt out of the blue, but also shows how the finding of one's way to the perfect outward expression of that idea is also governed by a sudden and explosive end [Illumination]. In the middle, the idea of a roller coaster mechanically cranking itself up a slope conveys how an idea must be developed through research, experimentation, invention and lots of hard work, before it can be expressed or actualized.
With the numbers 3 and 7 falling at the trough and crest of a wave, the idea of a pause, at the moment of [Formulation] and [Realization] is visually displayed. This advent and issuant pause then corresponds, in isomorphic fashion, to the Planetary Model (seen elsewhere on this site), where immediate and direct passage through the Circumsphere (1) and the Atmosphere (2) are paused by the advent encounter with that model's surface (3). Thus showing how we encounter events in time in an isomorphically similar way as we encounter manifest entities.
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We encounter events in time in the same way we encounter entities in space.
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The idea of a roller coaster mechanically cranking itself up a slope then corresponds, in isomorphic fashion, to one's mechanical passage through the substance of the Planetary Model (the path of least resistance), where a second exiting encounter with the surface (7) marks an issuant pause before re-entering, in immediate and direct fashion, the Atmosphere (8) and Circumsphere (9). Like hitting "a rough patch of road" you fly along 1, 2, 3... hit a patch of substance that slows you down, that you must work through 4, 5, 6... then break out and fly along to a conclusion 7, 8, 9.
By combining the Creativity Model with the Sexual Model, the importance of development, and the reaching of a "critical mass", is brought out. The [buildup] of the sexual progression, reinforces the idea of the same kind of buildup occurring in the thought process of creativity. This incubation period is vital. Ideas are examined and considered. There is a buildup. Then, often without warning, a critical mass is achieved and ideas fuse together in the mind as one wholistic vision of imagined truth [Realization]. There is a characteristic pause, as [Arrival] at this point of [Realization] occurs. This realization is then followed, immediately and directly by an explosive [Illumination] of enlightenment, which leads to [Education] or increase of knowledge.
Lots of philosophies, both tarot and otherwise, point out the immediate and direct characteristics of creation, especially as it applies to creativity and inspiration. Many also choose to describe this phenomenon with three steps... thinking that the idea of a trinity is significant when talking about God-like things such as creation. But what most of them fail to realize is the existence of an equally significant trinity of equidistant design, devoted to the perfect expression of that creation, back to its God-like creator. By seeing the numberline of numerology this way, we can really begin to appreciate the significance of this signature of nature.
The stages of this divine progression can happen in a very short period of time, or a very long period of time. It can also happen over and over, as a process of refinement. Meaning that each [Illumination] is not necessarily an ultimate universal truth, only an elevated state of truth - or a projection of personal perception. One must "run the program again" to utilize newfound information in subsequent examinations. This idea of a signature of nature repeating over and over, is conveyed by the numbers 1 and 9 occupying what would be the same place, if further waves are realized.
In another progression (the Geometric progression, seen elsewhere on this site), I compare a 1 to the geometric concept of a point, and the 9 to a sphere. An important concept to extract from this is how all points radiate a sphere of influence, and all spheres of influence converge upon a central point - making point and sphere essentially the same, in a microcosmic vs. macrocosmic way.
By seeing point and sphere, or 1 and 9 as the same, endless progressions are possible with each sphere being the beginning point of the next progression. This idea is conveyed here, as answers [Education] lead to questions [Invocation].
Finally, by combining a progression of sex with a progression of thought, the idea of one-to-one isomorphic translation is conveyed. By describing these paths with abstract, reductionist terminology one can conceptually apply this fundamental idea over other more subjective representations (like tarot!), and possibly find this signature of nature in other places. And ... by finding this signature of nature in other places, one might possibly understand the nature of other things better.
• CRITICAL MASS •
Creativity
Creativity is a word of great generality. In my opinion, creativity deals with ideas; finding them, developing them and expressing them. Ideas are intangible entities of the mind that seem to come from an even less tangible source. Ideas typically appear from nowhere, sometimes while in pursuit of an answer to a question, other times as unsolicited inspiration. Because of this I see the emergence of ideas from nowhere as correlating perfectly with the 1, 2, 3 trinity of creation that begins all models.
In the creativity model the elements of the universe (1/9), connect through the lightning bolt of inspiration (2/8), to the tangible elements of expression (3/7), giving them meaning and form. In this way creativity describes the way in which a mind consumes the fuel of nothingness around it, enabling it to grow in magnitude, like the model itself.
Of course once an idea is created (1,2,3), its ability to proceed in ‘any’ direction (4,5,6), can sometimes mask its purpose. The way I see it, the ultimate purpose of any idea is to culminate at the equidistant 7 as a perfect outward expression of itself, thereby contributing to the totality of expressions that make up a universe (7,8,9). To express itself, the development of an idea must achieve its own critical mass. In other words it must be built upon and added to, until a successful conclusion is met, yielding an augmentation of understanding.
To develop an idea, you must nurture it with supportive evidence that will help define its form. Compiling this evidence is where decisions are made on which direction the idea will go. The primary objective of any idea is to move from the unknown to the known, thereby propelling us toward a greater understanding of the totalities beyond the idea itself.
At the beginning of our creativity progression then, we have a question, a problem, or some kind of condition representative of the formless state associated with the non-model that lies beyond the 1/9 sphere. In this case an idea emerges instead of a geometric shape. The inspiration that carries ideas to us from beyond our physical or conscious realm, is the intake valve of the number 2. This marks the “what if?” half of this creativity model. From here, the process of building upon an idea, to a perfect expression of itself, becomes a lot like a game of ‘blind man’s bluff.’ Because of the random ‘path of least resistance’ the idea must take through the theoretical mass of its intangible being, the point of passage through the number 7, to a successful conclusion, is not always that easy to find. Moving through the ‘maze’ of the 4/5/6 cluster represents the difficulty of this task.
Fortunately though, we theorize equidistant qualities within the number line that cause impulses, similar to the number 2’s lightning bolt of inspiration, to be sent backwards through the number 8, to the correct point of passage. This is why a successful approach to the number 7, that leads to the explosive 8, yields a similar response to that of the number 2. Realization of finding the correct passage through, is referred to, in equidistant design, as the “that’s it!” half of this model.
However as we have just pointed out, to find your way through to the number 8 position, you must pass into and out of the 4/5/6 cluster. In the creativity progression this cluster represents the development of an idea into a form. Typically, the creative pursuit to an answer or form involves numerous dead ends. You gather information to help find your way through, and nothing seems to hit the mark. You go over things again and again, trying ‘any’ angle you can think of. Finally you put the problem down for a while and move on to something else. Then hours, or days later, the answer suddenly comes to you out of nowhere - “that’s it!”. This is the phenomenon of creativity that intrigues people the most. To understand this phenomenon better, we need only examine the steps that lead to ‘critical mass.’ But how is critical mass achieved in the pursuit of an idea? The answer lies in rhythm!
Critical mass is achieved through an augmenting rhythmic motion. Rhythm is achieved through the dedicated efforts, continuous building up, and comparative analysis of available options to a creative mind (4,5,6). The critical ‘oneness’ occurs when all the options we have are seen together as a whole (a function of the right brain or unconscious mind). This enables connections between individual options to fuse into a single concept, capable of critical mass. On the number line, this point of wholistic apprehension is always marked by a characteristic pause, as the single image stands before us (7). The explosive “that’s it” ending (8), then automatically propels us to the long awaited answer (9). Thus the euphoric sensation of creative realization bears a one to one correlation to the euphoric sensations of sexual climax (which we'll cover in a moment), leading me to suspect a common pattern of progress between them.
What a lot of people don’t realize though, is that the creativity cycle can be deliberately invoked, when one is aware of the pattern that governs its progress. Because of this, I have found that at times a purposeful cessation of activity, after an augmenting cycle of frustrating attempts, can actually help trigger this response on a predictable basis. By deliberately putting away a project that has been the center of attention for a long or intense period of time, the mind is able to cycle through the mass of available options, uninterrupted by the conflicting left brain or conscious mind. Lack of conscious input at this time, actually helps the mind to see the connecting elements and fuse them together as one. In fact, I have found that many times, an increased state of frustration simply means more options to pursue, which ultimately means a more powerful cycle, and a more substantial conclusion. This might explain why many people are actually more creative while under pressure. Pressure helps, to fuse elements together and create a substantial critical mass.
Either way though, I see the pattern of creativity as always the same. Sometimes you can go for days before it hits you, other times you just stop for a minute, and lean back in your chair. But the sequence is always the same, you have to build up pressure to achieve critical mass, before you can reach the 3/7 goal of fusion and oneness. The proportions of each step can vary along the way, but the order does not. The creative cycle is very predictable, but don’t be fooled into thinking it is easy to achieve. A truly creative mind, is the one that knows exactly when to stop, and let the forces that be take over. It’s a very fine line (or transitional membrane!) to build up to, too much input will create confusion, not enough will fall short. But when it clicks, it is the only truly consistent manifestation of creativity that I know.
Talent
Another type of creativity progression involves the pursuit of expression, over that of specific answers. It deals with an artist’s ability to know when to stop adding to his work and recognize the perfect expression of his guiding image. In this model we see how these images, or visions enter from the 1,2,3 side of the number line as lighting bolts of inspiration, provoking a response in the artist’s soul, to be expressed out the 7,8,9 side with explosive results. Other times, the artist is merely a vehicle for an unknown image that only becomes apparent as the expression takes place. This is the realm of ‘talent’ and ‘grace.’
When a person creates and expresses ideas, images and feelings with apparent ease, we can say that he is indeed ‘one’ with his 3/7 chakra! Of course the 3/7 chakra is the chakra of the model’s skin. In being so, we now need to observe the difference between the two expressions of ‘skin’ as seen in previous models.
We said before that the 3/7 surface is where we ‘touch’ God or where God ‘touches’ us. The difference then, between 3 and 7 is in the difference between God’s creation of us (3), versus our expressions of God (7). The number 3 (being on the tangible, yang side of the number line) is seen as a representation of God touching us, by implanting in us our talent and grace. Through the 1,2,3 trinity of creation - we feel God’s guiding hand. While on the other end of the number line, the number 7 becomes a representation of where we touch God by reaching out of our mundane sphere or core with 7,8,9 forms of expression.
All is well with this formula, unless of course the ‘skin’ of our 3/7 chakra, is too thick for us to feel the initial 1,2,3 touch of God. If this be the case, inspiration will be blocked. On the other hand, if our theoretical ‘skin’ is too thin, we may be overwhelmed by the insurgence of the divine. Likewise, with the number 7, if our theoretical ‘skin’ is thick, expression is trapped and prone to violent outbursts, and if our skin is too thin we hallucinate. Preferably, our theoretical ‘skin’ is neither thick, nor thin, but just right, allowing for sensitive connections to the divine.
A theoretical ‘skin’ that is just right is preferable, but at the same time, it is difficult to fault excessive skin dimensions and the intensity of expression they provide. The raw expressions of thick skinned artists, exploding on a canvas, stage, book or whatever, is definitely something to behold. But then again, the burden of thick or thin skin, can also be a torment. In many ways the influence of thick/thin skin can become a detriment to these people, and the people around them.
In my opinion, the true artist is the one who learns to control his talent so it does not consume him. Unfortunately this is usually not the way we measure talent. Instead, we tend to encourage tormented souls to reveal themselves to us, almost as a freakish curiosity. We then applaud the results of their creative angst, and award posthumous honors upon their early demise. In fact, it may seem hard to believe, but some people even go so far as to look for ways to artificially obtain these volatile conditions with the use of drugs, in hopes of increasing their creative capacity and talent.
Drugs
When we talk of thin skin, we are not necessarily referring to the actual consistency of a persons literal flesh, or even the fragility of their emotional state. A literal connection between thin skin and the model, is just an analogy of form and not really meant to be taken as a rule. But in the ‘theoretical model’ that houses the creative mind, there is no doubt about the condition of the 3/7 stage. Thick ‘skin’ is definitely an inhibitor to the successful ‘synapse’ of the model. While at the same time, progressively thin skin will lead to fantasy and hallucinations.
In the case of hallucinations, thin skin becomes a synapse liberator, and the effects to the mind are boggling. To us, the 4,5,6 cluster represents the defined form of the model, and our perceptions about the measurable realities of life, and its three dimensions. If however the 3/7 skin around that mass cannot contain these realities and perceptions, they invariably bleed into the surrounding dimensionless area of the model’s perimeter. This co-mingling of perceived 4,5,6 ‘realities’ with the intangible, less comprehensible nature of the 2/8 and 1/9 spheres, gives these recognizable forms of reality, a distorted appearance as they gradually acquire a ‘non-dimensional’ potential. These hallucinations are what make determining what reality is, difficult.
In the end of course, reality remains intact, but because of this blending effect, we find that our perceptions of reality are continually altered as they are pushed further and further into non-compatible dimensions. Pushed far enough, these perceptions of form eventually become unrecognizable until finally the paradox of the absentia consumes them entirely. As external behavior in a human being, this type of deterioration of reality would be viewed as a progression from paranoia (7) to panic (8) to insanity (9) (a tortuous trinity of expression). Still, it’s the hallucinations of the slightly disturbed reality, that seem to entertain us the most, the product of the so-called ‘recreational’ drugs.
... and now, The Naughty Bits
In our next model we encounter one of the most powerful examples of how cyclic number lines achieve an explosive end - the sexual progression! In the sexual progression, the explosive ending, and the 7,8,9 trinity of expression are much more obvious, due to the obvious augmentation of the 4/5/6 cluster toward that end.
On a human level, sexual encounters take many forms. The problem is, the games people play to invoke a sexual response from a likely partner often muddy the waters of progress. On a purer level though, the sexual progression that we attempt to describe invariably begins with necessary interest (1) toward a definite conclusion (9). Having established the necessary interest (1), the next step to follow on our path of sexual intercourse is attraction (2). In the sophisticated man and woman, courtship usually follows attraction, however, as I see it, this is not part of the pure sexual progression. Courtship is really a progression of its own, leading, of course, to marriage and THEN to the sexual progression.
As I see it, in the purely sexual progression, physical contact is the next step after attraction, the touching of surfaces, and the use of skin (3). In the sexual progression, the immediacy and compulsive action of attraction (2), makes the path from interest (1) to touching (3) another 1,2,3 trinity of near simultaneous activity. This 1,2,3 trinity of near simultaneous activity then leads us right into foreplay and the foundations for sexual intent (4). After intent, the establishment of control as well as dominant or cooperative postures (5), leads to intercourse (6).
As intercourse proceeds, it augments the level of intent to extreme levels. When the rhythm of intercourse becomes steady and consistent, enough to become an unbroken cycle that is harmonious to each body, a different kind of ‘critical mass’ is achieved. When this happens, oneness is achieved (7), causing the proverbial dam to burst, carrying you away, via the explosive end, in an immediate and direct fashion (8), and giving you the euphoric sensation of all directional radiance (8). After this explosion, a determinant end, and feelings of resolution, conclude all progress (9).
Interestingly enough, in examining this progression further we can also see equidistant similarities in the opposing actions of each number. For example: in the 4/5/6 thick of things, we see the reciprocal male and female, yin and yang action of a penis and vagina coming together at the midpoint. We also see how foreplay becomes an augmenting processes that leads us half way into the progression, and how intercourse ultimately leads us out. We then see the alternation of the number 5 in the mutual exchange of parts, the marriage of opposites, and the alternating of dominant postures.
At the 3/7 stage, we have two examples of touching. The 3 represents the yang, male, side of the progression, and the physical touching of skin and bodies, while the 7 represents the female, yin, side and the spiritual connect that occurs within the pause before climax - you know, that brief moment when the rhythm of intercourse reaches its peak (6), stops (7), and then explodes (8)!
At the 2/8 stage, we have two examples of unrestrained activity: attraction and climax. Again, the power behind attraction is on the physical side associating it with vision, and motion and time. The power of the climax, on the other side, relates to the elated, buoyant, out of body feeling, and the acute sense of space and energy.
Finally, at the 1/9 ends, we have two examples of independent entities. At the beginning we have two entities with a common interest. And at the end we have two entities arriving at a common destiny. Thus the sexual progression changes the isolated into the integrated and back again.
The sexual progression is very powerful indeed. Some people like to theorize that everything we do in life is sexually motivated. But don’t be fooled. The sexual progression is only one coat of paint over the definitive, primordial, archetypal form of our model. Relating everything we do to sex might make more sense to you than relating everything we do to geometric shapes in nature, but ultimately the sexual progression is no more definitive than any other language model used so far. The fact is that everything we do relates to a sphere of the model and its universal forces, you can choose any language model you like as a foundation to build upon.
If you choose to continue with this study, we will move on to build upon this idea of abstract patterns, and their effect on human behavior. We will start with an examination of some patterns and ideas about space/time that will place our abstract model in a real place and time. Finally, we will conclude by examining some harmless examples of how paradox enters our world, and then end with some theories on how paradox reins supreme as a God force, or source of Tao. If you are interested in hearing a few words on how this sine wave model might be seen as an archetypal influence to anthropomorphized icons of tarot, try reading the edited down version of this page called A Significant Signature of Nature.
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