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The Inner Traveler

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  • medit8ionsociety
    Here s the URL of the latest issue of our newsletter, The Inner Traveler: http://www.meditationsociety.com/it71808/index.html This is a fairly large file (1.59
    Message 1 of 12 , Jun 8, 2002
      Here's the URL of the latest issue of our newsletter, The Inner
      Traveler: http://www.meditationsociety.com/it71808/index.html
      This is a fairly large file (1.59 MB), but well worth the time to wait
      downloading. You will need the Adobe Reader ™ 5.0 to read it. If
      you
      don't have it, the Adobe Reader can be downloaded free of charge at:
      http://www.adobe.com/products/acrobat/readstep.html
      We hope you enjoy and benefit by reading/viewing/meditating on it.
      Peace and Blessings,
      Bob
    • medit8ionsociety
      To all members of the Meditation Society of America and subscribers to The Inner Traveler newsletter: The new issue is now done and will be placed at a URL as
      Message 2 of 12 , Oct 25, 2002
        To all members of the Meditation Society of America and subscribers
        to The Inner Traveler newsletter:
        The new issue is now done and will be placed at a URL as soon as our
        web master can get to it. You will be notified of the URL as soon as
        possible, but if you don't want to wait, I can attach the whole issue
        to an Email and send it to you as an attachment right away. The file
        is fairly large once again (2.59MB - 28 pages), and will take a
        little while to download if you don't have a high speed connection.
        But I'm confident that you will find it to be one of the finest
        publications ever dealing with consciousness, and well worth the
        download time. This is our 10th issue, and it is a privledge to be
        able to share this wonder-full knowledge. Thank you to all who have
        contributed art and articles, and to all those who have supported
        this project.
        If you want me to Email you an attached copy, please contact me at:
        medit8@...
        Peace and blessings,
        Bob Rose
      • medit8ionsociety
        The new issue of The Inner Traveler is ready to go to cyber-press! It is 30 pages long and necessitates a 3.2 MB file, so will be quite a long (20 minutes or
        Message 3 of 12 , Mar 25, 2003
          The new issue of The Inner Traveler is ready to go to cyber-press! It
          is 30 pages long and necessitates a 3.2 MB file, so will be quite a
          long (20 minutes or so at 56k) download, unless you have a high speed
          connection. I'll be making the URL available here as soon as our web
          master uploads it. If anyone is interested and doesn't want to wait,
          please email me, and I'll email it to you as a pdf attachment. We'll
          be sending out CD versions of it to our contributing artists and
          authors very soon, and will eventually send out hard copies (on paper)
          to them as soon as we can get to it. There are thousands of people who
          will be reading it, and we have tried to once again gather the very
          best articles and art being shared anywhere in any publication dealing
          with meditation and consciousness. I think we have succeeded. As a
          matter of fact, we have been blessed with so much wonder-full material
          that we had to use the sacred "flip a coin" method to see what would
          be included in this issue. So, what you will see is just what the
          universe intended. But then again, isn't that always the case about
          everything:-) We can never count on another heartbeat, so to state
          something in the future will occur, is just a guess, but I'm making
          one now, and that is that The Inner Traveler will continue to be
          beneficial and enjoyable for quite some time to come. And this is
          because so many wise and talented people have been gracious and
          generous with allowing us to share their great gifts with you. Thank
          you to everyone involved.
          Peace and blessings,
          Bob
        • G
          ... The new issue of The Inner Traveler is ready to go to cyber-press! It is 30 pages long and necessitates a 3.2 MB file, so will be quite a long (20 minutes
          Message 4 of 12 , Mar 25, 2003
            --- In meditationsocietyofamerica@yahoogroups.com,
            medit8ionsociety <no_reply@y...> wrote:
            >
            The new issue of The Inner Traveler is ready to go to
            cyber-press! It is 30 pages long and necessitates a 3.2 MB file,
            so will be quite a long (20 minutes or so at 56k) download,
            unless you have a high speed connection. I'll be making the URL
            available here as soon as our web master uploads it. If anyone
            is interested and doesn't want to wait, please email me, and I'll
            email it to you as a pdf attachment. We'll be sending out CD
            versions of it to our contributing artists and authors very soon,
            and will eventually send out hard copies (on paper) to them as
            soon as we can get to it. There are thousands of people who
            > will be reading it, and we have tried to once again gather the
            very best articles and art being shared anywhere in any
            publication dealing with meditation and consciousness. I think
            we have succeeded. As a matter of fact, we have been blessed
            with so much wonder-full material that we had to use the sacred
            "flip a coin" method to see what would be included in this issue.
            So, what you will see is just what the universe intended. But then
            again, isn't that always the case about everything:-) We can never
            count on another heartbeat, so to state something in the future
            will occur, is just a guess, but I'm making one now, and that is
            that The Inner Traveler will continue to be beneficial and
            enjoyable for quite some time to come. And this is
            > because so many wise and talented people have been
            gracious and generous with allowing us to share their great gifts
            with you. Thank you to everyone involved.
            > Peace and blessings,
            > Bob

            G: Congratulations on another issue....
            sounds like you have enough left over for a running start on
            the next one.... what a large production to undertake ... may
            many thousands more be touched ...

            There is so much that could be shared ... may it start some
            on a path - may it establish many along the way - may keys
            be found to unlock the treasures that have always been....

            Another issue to savor ....
          • satkartar7
            medit8ionsociety wrote: and we have tried to once again gather the very best articles and art being shared anywhere in any publication
            Message 5 of 12 , Mar 26, 2003
              medit8ionsociety <no_reply@y...> wrote:
              and we have tried to once again gather the very
              > best articles and art being shared anywhere in any publication dealing
              > with meditation and consciousness.

              Wilber transpersonal art


              Ken Wilber wrote the essay "To See
              a World -- Art and the I of the
              Beholder" for an exhibition of
              Anselm Kiefer (see the October 21
              entry in One Taste, pp. 260-269).
              The November 12 entry contained some
              technical points related to that
              essay, which were deleted from the
              final version of One Taste. For
              the interested reader those points
              are published below for the first
              time, with permission of the author).

              To See A World
              Some technical points
              Ken Wilber

              "To See a World," which I wrote
              for the Anselm Kiefer exhibit,
              reminds me how difficult it is,
              at this point, to write short
              pieces. If I have anything new or
              fresh to say, it is because of
              the overall "big picture" that I
              have tried to develop; and yet, in
              order to use that big picture, I
              have to introduce it to the reader
              first.

              So I have to find short, simple
              ways to summarize what is, after
              all, rather complex material, and
              this is a very dicey game. I find
              that often I am forced to use not
              just simple, but simplistic,
              summaries—not just short and
              accurate but short and slightly
              inaccurate.

              In the Kiefer piece, for example,
              I say that each individual has
              available the entire spectrum of
              worldviews. That is fine as a
              simplistic summary, but technically,
              each individual has available the
              entire spectrum of basic
              structures (or the basic levels
              in the overall spectrum of
              consciousness, matter to body to
              mind to soul to spirit); but
              worldviews are collectively shared
              perceptions, and these do not
              reside in individuals alone;
              moreover, the surface features
              necessary to flesh out the deep
              features of the basic structures
              are provided only by cultural
              contexts, and those do not reside
              in individuals either.

              Nonetheless, each basic structure
              carries with it the main cognitive
              ingredients that will under-grid a
              particular worldview, and since
              I did not have the space to go into
              all these details, as a shortcut I
              simply said all individuals have
              available to them the entire
              spectrum of worldviews.

              What often happens is that, when
              somebody in our culture has a
              transpersonal peak experience,
              they will clothe that experience
              in the surface structures of our non-transpersonal culture, often with
              strange or sad results. This is
              why we await the new symbols of
              a future transpersonal religion,
              and this is where artistscan—and
              will—help immeasurably. In the
              meantime, individuals still have
              access to these higher levels of
              the spectrum of consciousness, but
              they find little support for them
              in the culture at large, so their
              worldviews are usually shaped by
              various micro-communities in which
              they find themselves, and these
              micro-communities (such as the
              avant-garde) are almost always
              alienated from the larger culture
              (precisely because, at their best,
              they are tapping into higher
              domains not officially recognized
              by conventional reality). So the
              general points of the essay are
              still accurate and the conclusion
              is still sound (I wouldn't have
              used the simplistic summary
              otherwise); but it does point up
              the difficulty of getting these
              ideas across in a short space.

              The Kiefer essay is based on the
              theory of integral semiotics that
              I outlined in The Eye of Spirit
              [chapter 3, note 12]. In linguistics,
              it is common to speak of
              signifiers, signifieds, referents,
              semantics, and syntax. For example,
              the word "dog." The written or
              material word "dog" is the signifier.

              What comes to your mind when you
              read the word "dog" is the signified
              The actual dog is the referent.
              The semantics of the word "dog"
              is its meaning, its referent, or
              what the word actually "points to"
              The grammatical structure that
              the linguistic word "dog" exists
              in is the syntax.

              One of the main controversies in
              semiotics (or the overall meaning of
              a word) is how to relate these
              various symbolic entities. And my
              point is that these four main
              entities (signifier, signified,
              semantic, and syntax) are actually,
              precisely, the four quadrants of
              any sign. If this is true, then
              we will have, arguably for the first
              time, an "integral semiotics" that
              explicates these four ingredients,
              which are essential in creating all
              meaning and significance.

              Thus, signifiers are
              Upper Right quadrant (the exterior
              words and written symbols);
              signifieds are Upper Left (the
              interior ideas andpsychological
              states evoked by signifiers);
              syntax is Lower Right (the formal
              linguistic system and its
              grammatical structures); and
              semantics is Lower Left
              (collective cultural meaning,
              values, referents, and worldviews).

              All referents exist in a particular
              worldview or worldspace (Lower
              Left), and artists can paint,
              depict, or otherwise express
              those worldspaces (this is what
              I meant by "magic objects,"
              "mythic objects," "existential
              objects," etc.). In other words,
              the semantics (the referent or
              meaning) of a painting depends
              upon the worldview to which the
              artist has access. By and large, an
              artist in a magical worldview will
              paint magical objects, an artist
              in the mythic worldview will paint
              mythic objects, and so on. This is
              because there is not a single
              pregiven world, but rather a
              spectrum of enacted (or co-created)
              worldviews, in which different
              perceptions, and therefore different
              objects, exist. And artists, just
              like everybody else, generally
              exist within a particular worldview,
              and by painting or depicting those
              worldviews, they render them more
              visible, one of their great services

              This also means that, in order for
              artists to paint higher worldspaces,
              they have to develop to those
              higher dimensions in their own being

              As Kandinsky said, "Construction on
              a purely spiritual basis is a slow
              business. The artist must train not
              only his eye but also his soul."
              This happens only as we transcend individuality, as Mondrian knew:
              "Through our intuition, the universal
              in us can become so active that
              it pushes aside our individuality
              Then art can reveal itself." Or,
              as Malevich put it, true art can
              begin "only if the superconscious
              were accorded the privilege of
              directing creation."

              If we look specifically at the
              psychic, subtle, causal, and nondual
              worldspaces, the idea is that
              perceptions in those domains can be
              depicted by artists who are alive to
              those domains in their own being.
              That gives us at least four levels
              of transpersonal art. Further,
              within those levels there are
              different types or ways of doing art

              There are different horizontal styles
              possible at each of those vertical
              levels. We have already looked at
              the vertical levels (psychic,
              subtle, causal, and nondual); here
              are a few of the most important
              styles: Transpersonal realism—this
              involves depicting the transpersonal
              terrain exactly as one sees it,
              more or less. Alex Grey, for example
              often draws the transpersonal
              realms precisely as he sees them,
              in a very realistic fashion (as well
              as doing numerous painting of a
              more symbolic nature). Ernst Fuchs
              and the Fantastic Realists attempt
              to paint inner spiritual visions
              exactly as they perceive them.

              Likewise the Surrealists attempted
              to depict inner realities graphically
              (some, but by no means all, of which
              were transpersonal). The acupuncture meridian lines, depicted on acupunctu=
              re
              charts, are an example of a realistic
              map of the etheric energy systems
              (which exist at the pranic level but
              tend to be more easily perceived at
              the psychic level). Much of Tibetan
              Buddhist art, which looks symbolic
              or metaphorical, is actually a
              realistic depiction of certain
              transpersonal realities (such as
              archetypal yidam or spiritual forms)
              that become directly seen and
              experienced in advanced meditation (particularly at the subtle level).

              Transpersonal impressionism—this is
              based on a direct transpersonal
              perception, but depicted in softer
              tones, easier lines, than the
              starker realism. Nonetheless,
              impressionism is still related in
              a somewhat realistic fashion to the
              event or perception it is depicting

              Zen paintings—in which bamboo trees,
              birds, lakes are depicted as soft,
              foggy, and misty—are not so much
              nature realism as transpersonal impressionism—the soft impression
              of the world no longer seen
              dualistically.

              But before we can truly understand
              impressionism, we need to contrast
              it with: Transpersonal
              expressionism—the conventional
              distinction between impressionism
              and expressionism is that the
              former is based on an external
              perception (e.g., a landscape),
              the latter on an internal perception
              (e.g., an emotional state). While
              there is some truth to that, the
              unfortunate implication is that the
              former is "real" or "realistic"
              and the latter is "merely
              subjective" and "not really real"

              But, stated as such, that is a
              completely misleading distinction.
              All perceptions exist in specific
              worldviews: a physical landscape
              exists in the sensorimotor
              worldspace, emotions exist in the
              pranic (or emotional-sexual)
              worldspace—or levels 1 and 2 in
              the Great Chain. Both are equally
              real. So typical impressionism
              and typical expressionism are both
              depicting real states, one external
              one internal. To say that
              impressionism is realistic (and thus
              based on something "really real")
              but expressionism is "merely
              subjective" (and not based on
              something that is "really real"),
              is simply to value the sensorimotor
              worldspace and deny the emotional
              worldspace, whereas in fact they
              are both equally real and equally
              existing levels in the Great
              Holarchy of Being. (In fact, the
              Great Nest theorists are unanimous
              that the pranic level, level 2, is
              actually more real than the physical
              level, level 1, because it has more
              depth and thus is closer to Spirit
              as transcendental Goal. Only in
              flatland, only in the modern
              wasteland, is the sensorimotor
              world—the world of scientific
              materialism and bodyism—made the
              only and ultimate reality.

              This is a reductionistic nightmare
              we need not share.)
              Likewise, the common distinction
              nature versus abstract—which is
              made by virtually all art critics
              —is completely mistaken in its
              implication, which is that nature
              painting is "representational,"
              whereas abstract painting is "nonrepresentational." That's
              very incorrect. A landscape painting
              represents or depicts states of
              nature, an abstract painting
              represents or depicts states of
              mind. Both are, in that sense, representational, because both
              the sensorimotor worldspace and
              the mental worldspace are real and
              existing landscapes. Nonetheless,
              the distinction is useful in this
              sense: impressionism (both
              conventional and transpersonal) is
              depicting states that are
              relatively objective to the
              painter's consciousness, while
              expressionism (both conventional
              and transpersonal) is depicting
              states that are relatively subjective
              to the painter's consciousness.

              That is true for both conventional
              and transpersonal art. To focus
              on the latter: In all cases of
              genuine transpersonal art—whether
              realist, impressionist, or
              expressionist—the artist is
              attempting to depict or convey
              some spiritual, transrational, supraindividual state, feeling,
              awareness, or insight, through the
              chosen medium (music, painting,
              dance, poetry, etc.). But with
              transpersonal expressionism, these
              states are still "too close" to be
              seen more objectively or
              realistically, and thus artists
              often feel they are trying to
              convey something for which they
              don't quite have the vocabulary.
              Unlike transpersonal impressionism
              and realism, where the events or
              states are seen fairly clearly,
              transpersonal expressionism always
              has a sense of a struggle to convey

              Occasionally, transpersonal
              expressionism simply communicates
              states that intrinsically do not
              lend themselves to objective,
              impressionistic, or realistic modes

              Much of Rumi's poetry; some of the
              painting of Kandinsky, Mondrian,
              Malevich, and Rothko; and many
              spiritual hymns are good examples
              of transpersonal expressionism.

              Technical point: the reason this
              has always been an incredibly
              slippery distinction—impressionism
              versus expressionism, the former
              being objective and the latter
              being subjective—is that in the
              growth and development of
              consciousness, what is subject at
              one stage becomes object at the
              next. Thus, the infant starts out
              identified with his body; his
              subjective self is his sensory
              body; he cannot "objectify" the
              body or see it as an object. But
              when the mind emerges, the child
              identifies with it: the mind becomes
              the new subject, which can then
              witness the body as an object.

              When the soul emerges, it becomes
              the new self or subject, which can
              then witness both the mind and
              the body. Finally, with the
              emergence of I-I, or the pure empty

              Witness—which is the primordial
              Self or Absolute Subjectivity—the
              soul, the mind, and the body can
              all be impartially witnessed: one
              has ceased identifying exclusively
              with any of them, so that—with One
              Taste—one can identify as well
              with the entire world. In each
              case, we dis-identify with a
              lower level (which becomes an
              object of awareness), identify
              with a higher level (which becomes
              the new self or subject of
              awareness), only to eventually
              dis-identify with that. Thus, what
              is subject at one stage becomes
              object at the next, until both
              subject and object are exhausted
              and One Taste alone shines. (This
              is just another example of
              Whitehead's dynamic of prehension,
              which I consider fundamental: the
              subject of this moment becomes the
              object of the next moment's subject

              Human macro development—the broad
              stages of human growth and
              development—follow Whitehead's
              micro development—the moment-
              to-moment unfolding of
              experience—as we would expect,
              since both are simply examples of
              the major dynamic of evolution
              itself, which is to holarchically
              transcend and include.)

              But this means that what artists
              might render expressionistically
              (or subjectively) at one stage of
              their development, they might
              render more realistically or impressionistically (or objectively)
              at the next stage—precisely because
              their subjective world has now
              become more objective: they have
              transcended the earlier worldspace—dis-identified with it,
              detached from it to some degree—and
              thus they can see it more clearly.

              They are no longer expressing a lower
              subject, but realistically looking
              at it as an object. At the same
              time, they are now identified with
              the next higher worldview—the
              next higher self or subject—which,
              being "too close" to see clearly,
              they will most likely have to
              express in subjective,
              expressionistic tones.

              This is why the line between
              expressionism and impressionism
              is always sliding: the line
              between subjective and objective
              is likewise sliding (the subject
              of one stage is the object of the
              next). Still, it is a useful
              distinction, and one I will retain
              Traditionally, an artist wishing
              to depict the transpersonal domain
              first enters the appropriate state
              of consciousness—psychic, subtle,
              causal, or nondual—and then simply
              depicts what he or she sees (using
              the chosen medium—poetry, music,
              dance, narrative, painting, etc.
              —and according to a chosen style).

              This results in transpersonal
              realism, transpersonal
              impressionism, or transpersonal expressionism—in poetry, music,
              dance, narrative, painting, and
              so on—across the transpersonal
              spectrum. But in all cases of
              genuine transpersonal art, the
              artist enters the appropriate
              higher state and then attempts to
              convey that state artistically.
              The main point of doing so is not
              merely or even especially self-
              expression, but to help elicit or
              evoke these higher states in the
              viewers of the art. This is why
              all magnificent art has a moral
              depth to it: it talks to us from
              our own higher possibilities, it
              pulls us to our own greater
              destinies, it calls to us from
              what we can become.

              Transpersonal realism,
              impressionism, and expressionism
              are the three main styles of
              authentic transpersonal art (whether
              expressed in poetry, music, dance,
              narrative, painting, etc.). What
              renders them authentic is not the
              content per se, but the depth of
              the artist conveying them. To be
              authentic, the artist must be
              speaking, in whatever style,
              directly from the higher state
              itself (psychic, subtle, causal,
              or nondual). And a critic can judge
              this if and only if the critic is
              alive to these higher domains as well

              That gives us a grid of three styles
              across four levels, or twelve
              distinctive types of authentic
              transpersonal art. But before I
              give examples of each, there is one
              other major style, less profound
              but much more common, that needs
              to be discussed, and that is
              transpersonal symbolism.

              A transpersonal symbol is a symbol
              whose actual referent is in any
              of the transpersonal levels or
              realms. Words like "spirit,"
              "buddha-nature," "deity," and
              "emptiness" are written symbols
              (or signifiers) of actual
              realities (or referents) that can
              be known directly in the
              transpersonal realms of development

              But until those realities are
              experienced, the words remain
              symbols only.

              It is often said that mystical
              experiences are ineffable.
              Absolutely not true. Or rather,
              no more true than for any other
              experience. Sex is ineffable, the
              taste of a cake is ineffable,
              listening to Bach music is ineffable,
              watching a sunset is ineffable.

              You know the actual meaning of
              those words, not by listening to
              the words, but by having the
              experiences to which they refer.
              If I say "orgasm," and you've had
              that experience, then you will
              know what the word means. If not,
              not. Likewise with "spirit,"
              "godhead," "cessation," "interior
              luminosity"—if you have had those
              experiences, you will know what
              those words mean. If not, not.
              Words are just as adequate, or
              inadequate, for mysticism as for
              sex or any other experience; it's
              just that mystical experiences are
              rarer than orgasms and sunsets,
              so people say you can't "talk" about
              them at all, which is silly—of
              course you can, if you've had the
              experience. Zen masters talk about
              Emptiness all the time!, and they
              know exactly what they mean by
              the words (and the words are quite
              adequate), because they have had
              the experience.

              So we can say: all experiences are
              equally ineffable, in the sense
              that words will never substitute
              for the experience itself (in sex,
              sunsets, or satori); but if you've
              had the particular experience,
              words do just fine in symbolically representing them (in sex, sunsets,
              and satori). The key is: you must
              have the experience to know what
              the words actually mean (technically,
              you need the developmental
              signified in order to know the
              corresponding referent of the
              particular signifier). A symbol or
              sign, in all cases, simply
              represents an experience in some
              domain (gross, subtle, or causal).

              Thus, for example, the word "sunset"
              represents an experience in the
              sensorimotor worldspace. "Anger"
              represents an experience in the
              pranic or emotional-sexual worldspace

              "The Virgin Mary" represents an
              experience in the mythic worldspace
              The mathematical symbol "negative
              one" represents an experience in
              the rational worldspace. "Kundalini"
              is an experience in the psychic
              worldspace. The words "complete
              mental cessation" represent an
              experience in the causal worldspace

              And so on. Thus, "transpersonal
              symbolism" means any symbol or
              sign whose referent is in the
              transpersonal domains (psychic,
              subtle, causal, or nondual).

              Now, it is in the nature of all
              symbols (conventional and
              transpersonal) that they do not
              actually look like that which they
              symbolize. The symbol "dog" does
              not look like a real dog. The word
              "Spirit " does not look like Spirit

              Symbols, remember, stand for (or
              represent) a direct experience, and
              as such, they themselves do not
              look like, nor can they substitute
              for, that experience.

              In art, this leads to several important distinctions. Let's say that I wish=
              to paint a picture that protests human aggression. If I do this realistical=
              ly, I might actually paint, say, a firing squad shooting a man (as Goya did)=
              . The painting looks more or less like the real scene. It is not symbolic, i=
              t is realist (or impressionist). But I can also do a symbolic painting, whic=
              h will use other images in a symbolic fashion—perhaps doves falling to their=
              death, or hearts with swords pushed through them, and so on. These symbols =
              do not look like the real situation I am protesting, but they stand for, or =
              symbolically represent, what I have in mind, namely, the horrors of human ag=
              gression. The same is true for transpersonal realism and transpersonal symbo=
              lism. The former looks like what it depicts, the latter does not. Thus, the =
              painting of a luminous tunnel of vibrant light extending above and beyond th=
              e crown of the head is an example of transpersonal realism, because that is =
              a more-or-less direct depiction of a common experience in the subtle domain.=

              But the hermetic drawings of Robert Fludd, for example, are merely a transp=
              ersonal symbolism—the drawings look like nothing in the actual transpersonal=
              domains; they are merely mental symbols representing the fact that higher d=
              omains exist, but they do not themselves necessarily stem directly or immedi=
              ately from those higher domains. This distinction between realism and symbol=
              ism is important in transpersonal art, because 1) the meaning of a symbol is=
              the experience it stands for, 2) transpersonal symbols stand for experience=
              s in the transpersonal domains, 3) few people have those experiences. That m=
              eans that most transpersonal art remains merely symbolic for most people—the=
              y know only the symbols, not the experiences that give the actual meaning.
              So transpersonal symbolism is, as it were, a diluted, weaker form of transp=
              ersonal art. It symbolizes higher realms, but does not itself directly depic=
              t those realms, because it looks like nothing in those higher realms. It is =
              a mental symbol that reminds people that there are higher realms, but it giv=
              es no indication what those higher realms are actually like. For this reason=
              , transpersonal symbolism (unlike realism, impressionism, and expressionism)=
              does not, generally speaking, have the power to elicit those higher realms =
              in viewers. It is forged in the mental domain and remains confined to the me=
              ntal domain, but at least it points to higher and deeper occasions, and to t=
              hat extent is a valid, useful form of transpersonal art.
              Each of those four styles (realism, impressionism, expressionism, symbolism=
              ) can be applied to each of the four major transpersonal realms (psychic, su=
              btle, causal, nondual). This gives us a grid of sixteen types of transperson=
              al (TP) art. Here are a few quick examples from several of them:
              Symbolic—Most typical transpersonal art, myths, parables, and narratives ar=
              e symbolic only; they are not direct depictions (realist or impressionist) o=
              f the transpersonal domains, but merely symbols that suggest or hint at the =
              transpersonal domains. This is also true for many Jungian archetypes and com=
              mon mythological motifs. Of course, not all myths and archetypes are even sy=
              mbolic of the transrational realms; most, in fact, are symbolic of the prera=
              tional realms (a confusion of which is still rampant in spiritual circles), =
              and they exert not a transgressive but a regressive pull in consciousness. M=
              uch "religious symbolism" (Moses parting the Red Sea, the Virgin birth, the =
              earth resting on a Hindu serpent, etc.) has its referent in the magic and my=
              thic—not psychic and subtle—worldviews.
              Nonetheless, authentic transpersonal symbolism can be found in many of the =
              Tantras (East and West), where extensive symbolism is used to represent high=
              er stages of transpersonal development. Likewise, the "empty circle" drawn b=
              y Zen calligraphers is TP symbolic of the causal (or pure cessation; the cir=
              cle does not look like Emptiness, it merely represents it). Similarly, "One =
              Stroke" in Tibetan calligraphy (a single, bold, downward mark on the paper) =
              is TP symbolic of Ati or the nondual.
              Impressionist—Many mandalas are a TP impressionism of the subtle dimension =
              (in contemplation, the inward eye often perceives symmetrical, billowing, lu=
              minous patterns—in other words, mandalas; usually these are impressionistic,=
              but in Vajrayana they are rendered in an extremely realist fashion, with mi=
              nutely detailed aspects, as can be seen in most thangka paintings; these are=
              not symbolic, they are realist, for they depict inner realities that can be=
              directly perceived in meditation). The blue-black background of many Tibeta=
              n thangkas is a TP impressionism of the causal (in states of pure cessation =
              or unmanifest absorption, one is directly immersed in a vast, infinite sea o=
              f unmanifest or "black" unborn reality, which is often impressionistically r=
              endered as a blue-black color in thangkas; similarly, Samantabhadra, the "At=
              i-Buddha," is always painted blue-black, shorn of all ornaments or manifest =
              qualities, giving the impression of naked awareness). The best of Zen landsc=
              apes are a TP impressionism of nondual Suchness (Suchness is not a reality a=
              part from other realities but the "isness" or "thusness" of any and all doma=
              ins; Zen artists often depict nature in its suchness, and they do so in impr=
              essionistic, not harsh realist, terms, because nature itself is not Spirit b=
              ut a manifestation of Spirit; specifically, nature is the Nirmanakaya, not t=
              he Dharmakaya, but the former is a manifestation of the latter and thus a fi=
              tting object of a "Suchness painting").
              Expressionist—Mondrian, Kandinsky, Malevich, Brancusi, and Rothko are often=
              a TP expressionism of the mental-to-psychic dimension (as these artists the=
              mselves made clear, they were attempting to express internal mental states o=
              r ideas, particularly as they verged on transpersonal, spiritual, or univers=
              al themes). Some of Bach, Mozart, and later Beethoven are a TP expressionism=
              of the subtle (the "music of the spheres"). There is a dual emotional tone =
              in many Zen landscapes (called sabi and wabi) that is a TP expressionism of =
              Emptiness (which is vaguely intuited and given amorphous expression in these=
              dual tones). Realist—The chakra meridian maps are a TP realism of the psych=
              ic dimension. A painting of the "blue pearl" is a TP realism of the subtle (=
              i.e., the blue pearl is a direct and unmistakable perception in certain subt=
              le stages of kundalini meditation).

              Alex Grey, Ernst Fuchs, and
              Fantastic Realists are TP realists
              in many instances. Most meditative
              texts and sutras are a TP realism (descriptive phenomenology) of the
              transpersonal realms—they are not
              symbolic, they are realist! And
              here's a superb TP realism of
              nondual Suchness (from Basho):

              Still pond,

              A frog jumps in,
              Plop!
            • Jeff Belyea
              Who reads The Inner Traveler? It is so beautiful and instructive and enlightening. God has blessed Bob Rose with an experiential knowledge of a type known
              Message 6 of 12 , Mar 27, 2003
                Who reads The Inner Traveler?

                It is so beautiful and
                instructive and enlightening.

                God has blessed Bob Rose
                with an experiential
                knowledge of a type known
                clearly and uniquely by
                many as, enlightenment.

                And he shares his light
                beautifully.

                Reading his magazine
                is pure bliss.


                Papajeff
              • devianandi
                ... where is it?
                Message 7 of 12 , Mar 27, 2003
                  --- In meditationsocietyofamerica@yahoogroups.com, "Jeff Belyea"
                  <jeff@s...> wrote:
                  > Who reads The Inner Traveler?
                  >
                  > It is so beautiful and
                  > instructive and enlightening.
                  >
                  > God has blessed Bob Rose
                  > with an experiential
                  > knowledge of a type known
                  > clearly and uniquely by
                  > many as, enlightenment.
                  >
                  > And he shares his light
                  > beautifully.
                  >
                  > Reading his magazine
                  > is pure bliss.
                  >
                  >
                  > Papajeff


                  where is it?
                • medit8ionsociety
                  ... From post # 5318: The Inner Traveler The new issue of The Inner Traveler is ready to go to cyber-press! It is 30 pages long and necessitates a 3.2 MB file,
                  Message 8 of 12 , Mar 27, 2003
                    --- In meditationsocietyofamerica@yahoogroups.com, devianandi
                    <no_reply@y...> wrote:
                    > --- In meditationsocietyofamerica@yahoogroups.com, "Jeff Belyea"
                    > <jeff@s...> wrote:
                    > > Who reads The Inner Traveler?
                    > >
                    > > It is so beautiful and
                    > > instructive and enlightening.
                    > >
                    > > God has blessed Bob Rose
                    > > with an experiential
                    > > knowledge of a type known
                    > > clearly and uniquely by
                    > > many as, enlightenment.
                    > >
                    > > And he shares his light
                    > > beautifully.
                    > >
                    > > Reading his magazine
                    > > is pure bliss.
                    > >
                    > >
                    > > Papajeff
                    >
                    >
                    > where is it?

                    From post # 5318:

                    The Inner Traveler

                    The new issue of The Inner Traveler is ready to go to cyber-press! It
                    is 30 pages long and necessitates a 3.2 MB file, so will be quite a
                    long (20 minutes or so at 56k) download, unless you have a high speed
                    connection. I'll be making the URL available here as soon as our web
                    master uploads it. If anyone is interested and doesn't want to wait,
                    please email me, and I'll email it to you as a pdf attachment. We'll
                    be sending out CD versions of it to our contributing artists and
                    authors very soon, and will eventually send out hard copies (on paper)
                    to them as soon as we can get to it. There are thousands of people who
                    will be reading it, and we have tried to once again gather the very
                    best articles and art being shared anywhere in any publication dealing
                    with meditation and consciousness. I think we have succeeded. As a
                    matter of fact, we have been blessed with so much wonder-full material
                    that we had to use the sacred "flip a coin" method to see what would
                    be included in this issue. So, what you will see is just what the
                    universe intended. But then again, isn't that always the case about
                    everything:-) We can never count on another heartbeat, so to state
                    something in the future will occur, is just a guess, but I'm making
                    one now, and that is that The Inner Traveler will continue to be
                    beneficial and enjoyable for quite some time to come. And this is
                    because so many wise and talented people have been gracious and
                    generous with allowing us to share their great gifts with you. Thank
                    you to everyone involved.
                    Peace and blessings,
                    Bob
                  • medit8ionsociety
                    As per Devi s request, the new issue of The Inner Traveler, the newsletter of the Meditation Society of America can be downloaded at:
                    Message 9 of 12 , May 8, 2003
                      As per Devi's request, the new issue of The Inner Traveler, the
                      newsletter of the Meditation Society of America can be downloaded at:
                      http://www.meditationsociety.com/itV216168/index.html
                      It's a large file (3.2 MB), and will take about 20 minutes to download
                      at 56k (or 20 seconds with a high speed connection and a Mac, as Sri
                      Geneji has informed me). Enjoy!
                      Peace and blessings,
                      Bob

                      PS: As to the Fish and Karta and Devi.... do we need a Judge Karta and
                      Devi group? :-)
                    • satkartar7
                      ... dear Bob, I can t download without a hard-drive I am on a toy called webtv with resolution 2.00 I was hoping Gene will turn the Pdf; which I can t open
                      Message 10 of 12 , May 8, 2003
                        > http://www.meditationsociety.com/itV216168/index.html
                        > It's a large file (3.2 MB), and will take about 20 minutes to download
                        > at 56k (or 20 seconds with a high speed connection and a Mac, as Sri
                        > Geneji has informed me). Enjoy!
                        > Peace and blessings,
                        > Bob

                        dear Bob, I can't download without a
                        hard-drive I am on a toy called webtv
                        with resolution 2.00

                        I was hoping Gene will turn the Pdf;
                        which I can't open either into HTML

                        I could take the Pdf format and covert
                        it, but I need the proper Url for it
                        please

                        Love, Karta
                      • medit8ionsociety
                        Dear Karta, Here s a suggestion: Give this URL to someone with a PC or Mac and ask them to download it, and print it out for you. I don t know for sure, but I
                        Message 11 of 12 , May 9, 2003
                          Dear Karta,
                          Here's a suggestion:
                          Give this URL to someone with a PC or Mac and ask them to download it,
                          and print it out for you. I don't know for sure, but I think the HTML
                          format would not let you see the beauty of the art. Immodestly
                          speaking, The Inner Traveler not only has the best authors of any
                          publication dealing with meditation, enlightenment, etc., but also the
                          best artists. Each work of art in it is a meditation and worth
                          meditating about, and I'd hate to have that feature of The Inner
                          Traveler not available to you. If this is not possible, let me know
                          and we'll find a way for you to see, enjoy, and benefit from it.
                          Peace and blessings,
                          Bob
                          "satkartar7" <mi_nok@y...> wrote:
                          > > http://www.meditationsociety.com/itV216168/index.html
                          > > It's a large file (3.2 MB), and will take about 20 minutes to download
                          > > at 56k (or 20 seconds with a high speed connection and a Mac, as Sri
                          > > Geneji has informed me). Enjoy!
                          > > Peace and blessings,
                          > > Bob
                          >
                          > dear Bob, I can't download without a
                          > hard-drive I am on a toy called webtv
                          > with resolution 2.00
                          >
                          > I was hoping Gene will turn the Pdf;
                          > which I can't open either into HTML
                          >
                          > I could take the Pdf format and covert
                          > it, but I need the proper Url for it
                          > please
                          >
                          > Love, Karta
                        • medit8ionsociety
                          Dear List Member, We are very pleased to announce the posting of the new issue of The Inner Traveler, the newsletter of the Meditation Society of America. It
                          Message 12 of 12 , Nov 13, 2003
                            Dear List Member,

                            We are very pleased to announce the posting of the new issue of The
                            Inner Traveler, the newsletter of the Meditation Society of America.
                            It is a quadruple issue and is 40 pages long. Thanks to the "best in
                            the world" quality artists and authors who have contributed to it, it
                            is so full of wisdom, beauty and love that we will soon start using
                            this issue as our sample. Our web master has posted the URL for the
                            whole issue (4.7MB), and also has posted 4 separate parts of about 10
                            pages and 1.2MB each, to make the download less long for those who
                            don't have broadband. Here's the URL:
                            http://www.meditationsociety.com/itv229064/index.html

                            We feel that one of the best things that you can do is to share things
                            that help others deal with stress, and gain self knowledge and self
                            control, and that is our aim with The Inner Traveler. We are
                            suggesting that a good way to help others would be to print up copies
                            of The Inner Traveler and pass them out to your friends, family,
                            coworkers, and all those who you think could benefit from reading this
                            work of consciousness evolving concepts and methods.

                            We hope you will enjoy and benefit from this collaberative effort that
                            points to Truth from many different perspectives.

                            Peace and blessings,

                            Bob Rose, President,
                            Meditation Society of America

                            Web Site: http://meditationsociety.com
                            E-Mail: medit8@ meditationsociety.com
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