Tuesday, January 29, 2013
Wednesday, October 31, 2012
Tuesday, October 30, 2012
A: Encounters is a Masterpiece, given either one of these two perspectives. I'll explain.
I: Please do. This should increase the resolutions on a number of issues regarding this Subject-Matter.
A: The differentiating factor between the lenses of these two masks of the Realitys of Spirit is the way they view the beings who come out of the space craft. Are they ALIEN OR ANCESTRAL?
I: These are the beings that look like the figures in your paintings, which you call self-portraits, Personalized Mandalas or Self-Portraits-In-Time?
A: Yes, the Egyptians and Atlantians, ancestral spirits from the Pyramid Cults.
A: As best I can recall, somewhere along the line somebody related the idea for this movie to a book called The Moth Man Prophecies and Edgar Cayce, but Spielburg put a decidedly Judeo-Christian touch to it, regardless of the origin of the idea. The movie has as its primary characters... (interrupted)
I: Two abstract artists...???
A: Why, yes.
I: "They saw the light," possibly the first born son of light, so to speak.
Atlantogyptus: Redefinition of art Itself in this late great 20th...: A: Getting into the mediumistic method a bit more, one soon recognizes this metaphysical philosophy demands a congruent redefinition of a...
Art & Raja
William W. Higgins
The forthcoming concepts were originally presented at the XIII International Congress of Vedanta, SS Rama Rao Pappu, Founder and Director, as a thirteen page paper, at Miami University, Oxford, Ohio, Friday, September 13,2002. Certain ideas, arising from the first presentation, needed to be addressed and further clarified, namely, the establishment of a genuine new school of art, entitled, Metapsychological Art along with its interdisciplinary relations to philosophy of mind, theology, art and psychoanalysis, both East and West. Additionally, in terms of the history of ideas, this school of art legitimately transcends Abstract Expressionism and Analytical Cubism, and further differentiates itself from its predecessors through the unique fact that it is equally valid East and West. Traditionally, the conceptual disciplines of philosophy and theology, and their symbolic practices and products, namely, art and religion, have provided civilizations with more or less applicable and adequate windows into the realm of Spirit as it has d/evolved over the past few thousand years. By Spirit we mean the fundamental principal of motion in existence, that which constitutes the basis of our reality of space, time, and the world as we live it. It is we, as philosophers, theologians, psychoanalysts, scientists, and those of the tribe who possess some knowledge of the ultimate principals, who are the one's vested with the responsibility to provide applicable and adequate principles regarding these ultimate facts of the reality of our existence, its reason and order.
It is in the sense of anticipating the next logical steps the direction of these disciplines are now moving, rather than simply a scholarly comparison and contrast of the past, leading to the present that determine the content of its subject matter and the style of Meatapsychological Art's presentation. A new school of art requires both empirically verifiable concrete methods complimented by conceptual systems. This next step anticipated and taken by Metapsychological Art concretely involves methodology applied through the medium of oils and canvas inwardly clarifying the jiva of Raja Yoga and/or empirical ego of western psychoanalytic theory (Freud and Jung). The clarification of this persona, equally acknowledged by philosophy of mind both East and West is a direct derivation from what Patanjali (renowned author of Yoga Sutras) speaks of as subjective impressions, what Jackson Pollock and Mark Rothko (founders of Abstract Expressionism) calls the 'massa confusia', or what Merleau-Ponty's Phenomenology would have regarded as making the invisible visible. The identification of this normally invisible and unconscious persona in the colors of a mosaic of subjective impressions functions as a symbolic montage, a personalized Mandala, relating directly to deciphering ones karmic destiny and spiritual purpose pragmatically; this inner mosaic is either in direct relation to one's outer mosaic of existence composed of the raga (attraction) and dvesha (repulsion) of samsara (phenomena in one's life world consisting of space,time and the world as we live it. Taken directly from Patanjali and Raja Yoga itself, Asamprajanatah and Samprajanatah Samadhi are methods of concentration using one's self, symbols and mediums, through oils and canvas to arrive at the basics of Metapsychological Art. to aid in reaching the goals of transcendence and 'freedom from'.
In this age of tremendous spiritual metamorphosis, it is my sincerest wish this new pragmatically focused conceptual step forward regarding the redefinition and restatement of the purposes and goals of art, specifically oils and canvas, and its relation to Mind, made possible by defining some common denominators and understanding their origins and relations, both East and West, will be welcomed by intellectual and artistic communities, both East and West.
Best Wishes In All Your Endeavors,
William Woods Higgins,
USA , 2010.
The etymology of the word metapsychological from its Classical Greek origins spells its meaning in the direction towards the center of the sphere and relies on ends within the possibilities of human experience. Anybody can do it. Please note:
meta means that which is beyond and with simultaneously.
psyche' means the soul, the essence of being human, the self-ego , the citta-jiva complex.
logos means the principal/principle of intelligence within the system.
All real art symbolically expresses Spirit., the normally unconscious principal of motion in the human psyche', holding not only the purpose of one's spiritual existence, but also the jiva/empirical ego which is the normally unconscious persona accounting for the reason and order in consciousness' relation to nature, at the pre-reflective level.
More focally, Metapsychological Art is making the normally unconscious and invisible(that which is beyond and with simultaneously) principal of intelligence (logos) defined as the citta-jiva/self-empirical ego complex of the human psyche' visible and a potential object for consciousness. In the perspective of the History of Ideas in the West, with particular emphasis on metaphysics and epistemology, Metapsychological Art even provides the applicable phenomenological tool needed by Merleau-Ponty to adequately finish the unfinished masterpiece, The Visible and The Invisible . In terms of the medium of oil painting it is what Mark Rothko and Jackson Pollock needed to extend Abstract Expressionism beyond the tabula resa or massa confusia, respectively. In this way, Metapsychological Art, lays claim to its legitimacy as the first genuine new school of art beyond Abstract Expressionism. In terms of Raja Yoga, especially Asamprajanatah and Samprajanatah Samadhi as defined by Patanjali, it provides not only a pragmatic tool, but a school of art equally valid both East and West.
The object of this discourse on Karma, Metapsychological Art, and Raja Yoga, is, in actuality, a theme intrinsic to philosophy, art, psychoanalysis,and religion, both East and West; this object is Kaivalya Moksha and/or Self-knowledge. More focally, this essay is concerned with combining some comparisons to western philosophy of mind, including psychoanalytic theory, with the pragmatic processes and conceptual theories of Raja Yoga for acquiring further degrees of and/or Self-Knowledge.
The particular goal of this essay is to forward a legitimate new school of art equally valid both East and West, namely, Metapsychological Art, that supersedes a form of western painting known as Abstract Expressionism. The new school of art is a product based on formally applying established methods of concentration, known in the Yoga Sutras of Patanjali as Asamprajanatah and Samprajanatah Samadhi, to the medium of oils and canvas.
Samprajanatah Samadhi-Sutra 17
17. The consciousness of an object is attained by concentration upon its fourfold nature: the form, through examination; the quality (or guna), through discriminative participation; the purpose, through inspiration (or bliss); and the soul, through identification.
Asamprajanatah Samadhi-Sutras 18&19
18. A further stage of samadhi is achieved when, through one pointed thought, the outer activity is quieted. In this stage, the chitta is responsive only to subjective impressions.
19. The samadhi just described passes not beyond the bound of the phenomenal world; it passes not beyond the Gods, and those concerned with the concrete world.
In terms of philosophy and art, both East and West, this tested method concretely clarifies the tabula resa and massa confusia, of Mark Rothko and Jackson Pollock respectively, left to the art world these types of works that became mistaken for the culmination of their works. This misconceptions about the medium and direction of oils and canvas, effectively threw the art world, in general, into relativistic disarray. Of course, both these primary representatives and founders of the school of art known as Abstract Expressionism left us in this shape of disarray because of their premature exits from human existence;they both died at relatively an early age for an artist making a substantive advance in a master class medium. Thus, what we are concerned with in the formulation of Metapsychological Art is the next dictate of reason and/or step in the progression of this medium in its redefinition congruent with an essential movement of Spirit. This direction of the medium from the subject-matter of the visible to the more invisible, in this era, from theoretical physics or oil painting requires identifying the dictates made visible and significant through clarifying the montage derived from the projection of the subjective impressions onto the instrumentality, the tools of the medium of oils and canvas. In a psychoanalytic or phenomenological perspective, or the perspective of Raja Yoga, the terminology would be making the phenomena and the persona connected with it, within the unconscious spectrum of the citta/self, a visible mask in the mosaic; it tells a story. This mask reveals the identity of the jiva, in terms of Patanjali, and/or the empirical ego in terms of 19th and 20th Century Philosophy of Mind and psychoanalytic theory, Freud and Jung. The perspective reveals the reason and order in our existence, guiding us to our destiny, making visible who or what lies at the basis of the intentions behind our every action.
The jiva accounts for the raga (attraction) and dvesha (repulsion) in samsara (space, time,and the world as we live it); it is likewise identical to the empirical ego which is the unconscious persona accounting for the spontaneous encoding and decoding of phenomena in the spatiality and motility of the body, within space, time,and the world as we live it. The jiva is the fundamental persona in the citta, the empirical ego is the fundamental persona within the self, they are both beyond and with us simultaneously. In our normal consciousness we remain in a state of avidya (ignorance) concerning them, given our normal means of knowing ourselves through reflection on our self. Projecting these subjective impressions onto oils and canvas, as pieces of a puzzle let us say, they can be made visible in increasing degrees, if it is to become a viable object for conscious study in the pragmatic furtherance of one's self-knowledge.
Giving figure to these mirrors of our self is analogous to learning how to read the Braille our spiritual purpose is written in. Thus piecing and reading these fragments within not only provides a key to our self-knowledge, but our spiritual destiny and evolution as well. Metapsychological Art is, therefore, a specialized formulation the meditative technique of Asamprajanatah and Samprajanatah Samadhi in Raja Yoga, a reading lesson concerning the Braille of Spirit known as either ignorance and/or avidya, the unconscious in the psychoanalytic theories of Freud and Jung,, or the invisible in the metaphysical and epistemological spectrum of philosophy.
Regarding the process of acquiring self-knowledge, we are essentially speaking of combining Asamprajanatah and Samprajanatah Samadhi with the medium of oils and canvas, effectively producing (1) not only a genuine new school of art beyond Abstract Expressionism known as Metapsychological Art, but also (2) a new school of art equally valid both East and West, aligning this medium once again, with an essential motion of Spirit in this epoch.
The identification and development of these self-portraits, as such, is derived from the subjective impressions immanent within a montage of colors and shapes derived from canvas, which functions as a Personal Mandala, which are the results of Asamprajanatah and Samprajanatah Samadhi projected onto the canvas, and in turn becoming an object for consciousness when slowed to this extent that anybody can practice and utilize, empirically verifying it through first-hand experience. In other words, this is not an axiom that must be believed on the word of the author. Too many words of “enlightened ones” have been the downfall of many movements in transcendental meditation. Buddhism, alchemy, the process of individuation, or self-actualization, to name only a few have become all talk with no experiential correlate.
Strictly in terms of oils painting, in western civilization, this presents the world with a step beyond Abstract Expressionism, which progressed only as far as the montage (massa confusia), as described by Pollock, or what can be labeled the tabula resa, left to the art world in the final progressions, reflected in the works of Rothko.
The transcendence and formal conceptualization of this new school of art, Metapsychological Art, as art, is primarily concerned with clarifying the massa confusia of Jackson Pollock or going beyond and through the tabula resa of Mark Rothko, for the purpose of transforming these into a self-portrait of the jiva/empirical ego. Its formulation and pragmatic extension into the medium of oils and canvas is the next logical step within the mediums of oils and canvas, having interdisciplinary relations to philosophy of mind, theology, yoga, Buddhism, and psychoanalysis, and many more such disciplines of mind and Spirit.
This concrete process presents one with an instrument through which one can figure and give figure to the aspect of the self carrying an individual's past life. In addition to this, upon learning to read this Braille of the mind's eye, it symbolically communicates one's spiritual purpose, one's karmic inheritance, as well as a destiny into a journey portraying and explaining the reason and order in one's being. In terms of western psychoanalytic theory, this turn inward, this same process of perceptual consciousness (the for-itself) is an aspect of the self known as the empirical ego, and its archaic aspect is attributed to biological inheritance of the id.
Couched in the psychoanalytic vocabulary of Freud the ego, id, and the residues of these egos, which we wish to identify in the phenomenological self-portraits we call metapsychological art, are described as follows:
Whereas the ego is essentially representative of the external world, of reality, the super-ego stands in contrast to it as the representative of the internal world, of the id…in the id, which is capable of being inherited, are harboured residues of the existence of countless egos; and when the ego forms its superego out of the id, it may only be reviving shapes of former egos and bringing them to resurrection. 
To provide further common ground, East and West, upon which we can base our discussion, Carl Jung begins his essay, entitled, Aion: Phenomenology of Self, with the following definitions of the self (citta) and the ego (jiva):
Investigation of the psychology of the unconscious confronted me with facts which required the formulation new concepts. One of these concepts is the self. The entity so denoted is not meant to take the place of the one that has always been known as the ego, but includes it in a supraordinate way. We understand the ego as the complex factor to which all conscious contents are related. It forms, as it were, the centre of the field of consciousness; and, in so far as this comprises the empirical personality, the ego is the subject of all personal acts of consciousness. The relation of the psychic content of the ego forms the criterion of its consciousness, for no content can be conscious unless it is represented to a subject.
…Theoretically, no limits can be set to the field of consciousness, since it is capable of indefinite extension. Empirically, however, it always finds its limit when it comes up against the unknown. This consists of everything we do not know, which, therefore, is not related to the ego as the centre of the field of consciousness. The unknown falls into two groups those which are outside and can be experienced by the senses, and those which are inside and are experienced immediately. The first group comprises the unknown in the outer world; the second the unknown in the inner world. We call this latter territory the unconscious.
Regardless of spiritual or biological origins and orientation, the self-portrait of this jiva and/or empirical ego many times, when clarified, will display a figure from the past with archaic ornamentation of a particular historical period and tribe. For instance, in headdresses and robes that have tribal or historical relevance, the realization of whom can be associated with genuine royalties (Raja Sanskrit=royal,regal), and a genuine past life in relation to these royalties, resides within the simple question one must answer as to why this is psychologically significant at all? On the level of a descriptive statement, when presented with a defined historical period, one is presented with a defined historical period and individuals within this matrix forming a mosaic relating to the mosaic in one's present montages in the milieu on has inherited in this incarnation. Regardless of spiritual or biological claims as to their origin, the universality, which makes this both applicable and adequate, comes with the fact that everybody has within him or her self, empirical egos or jivas; the subjectivity comes into play to the extent that each individual is possessed by a particular jiva/empirical ego, revealing a particular character or mask attributable to a particular tribe or historical period. Knowing that one's reason and order in consciousness' relation to nature is explainable in terms of a jiva/empirical ego is on a much different order than what this or that particular jiva/empirical ego means in terms of the subjectivity or particular spiritual orientation of this or that person's perspective. This allows for the understanding others can provide, in the presence of one's life world, if they are within the same hologram/montage synchronized with both time dimensions.
The proverbial problem in the West, which Metapsychological Art transcends is:
But this creatively active aspect of the psychic nucleus can come into play only when the ego gets rid of all purposive and wishful aims and tries to get to a deeper,more basic form of existence. The ego must be able to listen attentively and to give itself, without any further design or purpose, to that inner urge towards growth. Many existentialist philosophers try to describe this state, but they only go as far as stripping off the illusions of consciousness. They go right to the door of the unconscious and then fail to open it.
Metapsychological Art opens the door and allows one so determined entrance into the unconscious as well as the possibilities of deciphering past lives and their meanings regarding one's spiritual or karmic destiny and purpose. It allows one to find reason and order in one's present incarnation.
If one is new at this, which we all are to some extent, just consider this method of using oils and canvas, as well as references to the Mandala and the exact identities of past lives the self-portraits-in-time as an introduction to the greatest video game ever played as the resurrection of archaic vestiges bringing to life a new age of spiritual transformation redefining the self, and concepts and practices of evolution towards the sacred centered within the consciousness of us all.
In these Magic Theaters there are players symbolically expressed and recognized in this and that role of both spatio-temporal continuums, internal and external, past and present or future. This synchronization of inner and outer, the present and historical mosaics within one's self/chitta, is what one is essentially attempting to understand in providing insight into and guidance about one's karmic destiny and spiritual purpose.
The master class medium of oils and canvas, be it Abstract Expressionism or Analytical Cubism, had not progressed to the interdisciplinary level needed, in the West, to forward philosophy, psychoanalytic theory, beyond the tabula resa of reflective conscious and clarify the massa confusia within the unconscious. Metapsychological Art presents itself as an interdisciplinary tool needed for the supersession of Merleau-Ponty's phenomenology, and Pollock, and Rothko's Abstract Expressionism, that is applicable, adequate, internally consistent and empirically verifiable. This interdisciplinary problem is generated by the previously unspecified relation the medium of oils and canvas finds itself in relation to Asamprajanatah and Samprajanatah Samadhi, the concept of the Mandala, and Eastern methods of concentration, in general.
The importance of these interdisciplinary windows and/or facets of Spirit are exactly what we as philosophers, psychoanalysts, theologians and artists are polishing creating greater light gathering approaches to the same subject, the object of our respective disciplines, Spirit ItSelf. For instance, Merleau-Ponty's internally consistent ontology, supplies psychoanalysis with its much needed primitive ontological facts of the for-itself to be based in the pre-reflective orders of consciousness relation to nature. The previous twenty-five hundred years of philosophy of mind reduced the primitive facts of the for-itself on the reflectively posited agents and objects, known as Materialism and Idealism. This new ontology of the for-itself, in western philosophy of mind, relates Jackson Pollock and Mark Rothko, and Abstract Expressionism, in general, with the methods of the East, in general, Patanjali, in particular, and in doing so Metapsychological Art not only opens the door to the unconscious, but also providing a common denominator East and West, the jiva and empirical ego, with a defined interdisciplinary paradigm that has the capacity to redefine the essence of being human and the spiritual purpose and goals in the future (d)evolution of human culture.
Regarding the ontological status of the order and reason in the unconscious and pre-conscious region of the self, both East and West, now bestow the philosophical status of being ontologically primitive on these regions of consciousness and its relation to nature. The phenomenology of Merleau-Ponty making this the new fundamental reality of the for-itself validated Freud and Jung's psychoanalytic theories of the self and psychical apparatus, thus also placing metaphysics and epistemology, East and West, on an equal playing field, with another common denominator..
Thus, concrete methodology conjoined with the conceptual framework of a new school of art, equally valid East and West, has been pragmatically developed so that the goal of Raja Yoga, freedom from the web of samsara and samskara, can be realized, identified, understood, and transcended. As such the process of individuation and Raja Yoga take identical paths, and have many of the same goals. In the normal course of human existence, samsara and samskara are processes we remain in a state of avidya about. A primary reason for this is they are unconsciously intertwined, invisible and at the pre-reflective level of perceptual consciousness. The weave of this web therefore is composed with an unrealized and invisible fabric harnessing one's being in a tapestry of bondage composed of an external mosaic(samsara) attached in some synchronized fashion to an internal (samskara) phenomena centered upon and maintaining a logic of relations due to persona whose mask is that of a jiva, an empirical ego. Thus, the method and product of Metapsychological Art conjoined through Asamprajanatah and Samprajanatah Samadhi to make visible a normally internal and invisible mosaic within a montage of subjective and karmic impressions evolving into a self-portrait synchronizing the internal with the external mosaics of one's life. The meditative method is used to derive shapes that evolve into a composition with oils and canvas of this type of self-portraiture. To the extent that the relation of these internal and external mosaics remain unconscious or in a state of avidya, or progress in their visibility to a Rorshachian massa confusia, we are further in our concrete acquisition of a degree of self-knowledge, we have taken a further step on the road to freedom from the interlocking web of samsara and samskara.
Our major goal as artists, philosophers and theologians is understanding and expressing either symbolically, in an artistic medium, or conceptually in the language of literature, the shapes dominating the intersection of human beings intersection with Spirit. In other words, these two circles represent the individual self and its intersection with the collective Self, Plato's Realm of Forms, Aristotle's Mind of God (Nous Theos), and/or the Atman with the Brahman. The region of intersection, however transparent or opaque at the level of lived through experience is where the resurrection of personae from transmigrations (past lives) bonds the individual self through samskara with the mosaic of its inherited samsara. The square is the symbolic medium, oils and canvas, in this case, upon which oils are applied, symbols are drawn and/or meditative techniques as those of Raja Yoga engage the symbols and plane of the canvas and derive shapes from the canvas and montages of color that develop from the projected subjective impressions.
When the phrase “derived from the canvas” is used it refers to where and how shapes and colors come from. It as if they arise in an ether coming from behind the canvas. The method of left-handed drawing or automatic writing is eventually commenced when the hand seems magnetically held on the canvas as it creates definitions in the montage of colors. This eventually develops a montage of shapes that becomes a holographic Magic Theater of sorts, a window to the individual soul and World-Soul alike, and the artist can actually enter the space-time dimension and develop an entire series of siddhis. Siddhis are what we, in the West, would classify as alchemical, magical or psychic powers, very similar to those in the Carlos Castaneda series. The creation of these holographic montages and Self-Portraits-In-Time is the very object of Metapsychological Art. The medium of oils and canvas, traditionally a Master Class Medium, has always had the potential to define and identify the shape of Spirit to the cultural community. All Master Class Mediums share this potential to make the dominant shape of spirit actual. Given the medium and methods of Metapsychological Art it likewise becomes a basis for ceremonial magic in the future, but this topic must be realized pragmatically in actions rather than merely conjectured about in words.
With the advent of modern art, psychoanalysis, phenomenology, modern physics and mathematics and their supersession to the previous Euclidean shape of space and time previously guiding the concept of the dominant shape of Spirit in western civilization, we are living in a period of a metamorphosis in the shape of Spirituality. This fundamental change, if it is to have any meaning at all, involves a change from one dominant shape of Spirit to a new shape of Spirit evolving in the midst of the previous one devolving. The fundamental referents of this change involve the fact that the dominant shape of Spirit in western civilization is based on the persona generic to the Arcanum (Latin: Arcanum=Mystery) related to the 2000 to 2200 year cycle we are in. This persona is based on those indicated in Egyptian Mystery Religions and the Kabalah; this cycle is based on the constellation the sun rise through at the Vernal Equinox,which changes due to a phenomenon known as the precession of the equinoxes. In other words, to make a long story short, every 2000 to 2200 years this constellation changes because of the wobble of magnetic North. We are at the year 2000 and this is not insignificant. Ca. 0AD to 2100 AD has the Martyr figure, Arcanum XII, as the dominant shape of Spirit. We see this in the Abrahamic Tradition as symbolically expressed in the Drama of Jesus Christ; in the Greco-Roman Religion, the other primary offspring of Egyptian Mystery Religions, the Martyr is symbolically expressed in the Prometheus Trilogy, through the second play, Prometheus Bound, we know through works of the playwright Aeschylus.
The new archetype coming into dominance in the West is Arcanum IX, whose persona is that of the Wiseman/Sage, which has always been the goal of spirituality if the East. As such the spatio-temporal continuum of looking for the essence of being at the end of reflective line segments past, present and future, is now becoming directed towards the center of the the sphere of consciousness in the ever present unconscious and pre-reflective reason and order embodied in the center of a living being. This new shape of Spirit in the West is a fundamental aspect of the shifts taking place in the onset of this New Notion of Spirit, the Wiseman/Sage replacing the Martyr, and wedding of Eastern and Western philosophy through this notable common denominator evolving with the expression of this New Notion of Spirit. The new shape of Spirit in the West makes the Wiseman/Sage the common denominator being sought for by the Ecumenical Movement.
What is considered order through the perspective of the previous dominant shape of Spirituality might be considered chaos, when in reality it is a new order evolving in tandem with a new shape of Spirituality, as that coming into being with the Wiseman/Sage. The direction of Spirituality changes with this changing shape of existence itself. It is in this sense Metapsychological Art realigns itself with Spirit and an essential movement of Spirit in this age. The East and its inner sciences of Adhyatma-Vidya are all-important in this respect and it explains some of the magnetism of the West towards the East. The method and medium of Metapsychological Art enhance the mrditative techniques of Raja Yoga that is compatible with Eastern and now Western disciplines of Spirituality. It is a process of maintaining the fleeting images within the pre-reflective perceptual consciousness order and reason in relation to the unconscious facets of the self to the extent that they clarify their inner relationships with those of the outer samsara of the individual. In so many words this is the clarification of a mosaic with the self-portrait of the jiva derived from subjective impressions analogous to a Rorschach Inkblot within unconscious, with a medium which has the real potential to actualize certain dimensions of the spirit//Spirit, can reveal the synchronization of both inner and outer mosaics or their lack thereof, in terms of one's spiritual destiny attempting to balance one's inherited karmic debt.
One's karma is immanent within the reason and order of the pre-reflective attraction (raga) and repulsion (dvesha) of everyday life. The intentions of the jiva can be viewed in various degrees in conjunction with the contents of mosaics of samskara made visible through the self-portraiture of transmigration by the methods, the meditative techniques of Raja Yoga alone. The addition Metapsychological Art makes is a further attempt to define these normally invisible realities which remain with us, yet beyond our normal methods of statement making that is both applicable and adequate to explain the reason and order in existence, in terms of space, time, and the world as we live it.
The conceptual relation of Karma, Metapsychological Art and Raja Yoga is clear. The pragmatic clarification of this subject matter, the patterns and images of samskara and their relation to the worldly existence of each requires the efforts of the individual.
Any individual, so inclined and motivated, can practice this form of painting as anyone so inclined can practice Yoga. One needs only a square or round canvas (the primitive symbol of the self/citta), yellow, red, blue, black and white, which are normally applied full strength, as images and shapes are derived, not contrived, from a symbol or set of symbols, and the meditative techniques of Raja Yoga, Asamprajanatah and Samprajanatah Samadhi. The hand will eventually move like a magnet drawn to the canvas, and the images will evolve as such. Gaining an identity of the jiva/empirical ego in the unconscious spectrum of the self/citta is foremost in development of these holographic montages. These are inner phenomenal images and patterns of samskara. All else will follow accordingly,but it can require patience as well as one's entire life giving figure to this spectrum of consciousness. Any claims to adeptness and stages of development regarding one's progress in these spiritual matters are the province of the subject and practitioner. The author lays claim to providing an applicable and adequate means of taking a pragmatic step in the development of one's self-knowledge through the practice of these techniques combined with the conceptual systems identified in this essay, and nothing more. Enlightenment is a judgment of the individual regarding the individual's progress in these dimensions of existence.
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Redfield, James, The Celestine Prophecy: An Adventure. Hoover, AL: Satori Publishing, 1993.
_____________ The Tenth Insight: Holding the Vision. New York: Warner Books, 1996.
 Fergusson, Francis Ford, Introduction to Aristotle's Poetics. Taken from the following quote: Poets, like painters, musicians, and dancers, Aristotle says, all 'imitate action' in their various ways. By 'action' he means not physical activity, but a movement of spirit, and by 'imitation' he means not superficial copying, but the representation of the countless human forms which the life of the human spirit may take in the media of arts: musical sound, paint, word, or gesture. Aristotle does not discuss the idea here, for it was commonplace, in his time, that the arts all (in some sense) imitate action… arts may be distinguished in three ways, according to: 1.) the object imitated, 2.) the medium employed, 3.) the manner, method. Pp. 4-5. Unfortunately, it is not by any means commonplace in our times, but it should be, for it could serve as the basis for a judgment about the specific artistic statement. This type of criteria is generally lacking in the present day discussions of Master Class Mediums, Master Class Art, and Masterpieces, in general.
 Merleau-Ponty, Maurice,The Visible and The Invisible. Trans. Lingis, Evanston, Northwestern University Press, 1968.
 With all due respect to Abstract Expressionists, they simply died to early to take their journey to the interior self to the level of Metapsychological Art.
 Patanjali, Yoga Sutras.
 It should be noted here that Freud had to account for this universal phenomenon of any individual's unconscious mind. Because he was already in so much trouble with the Abrahamic clergy, it is rather obvious, accounting for this aspect of existence in terms of a past life,when the Abrahamic theology clearly defines the soul in terms of one life, would have Inquisitionally banned his theory of the psychical apparatus from any type of acceptance, because empirical egos are identical to the jiva which is the basis of past lives in the Eastern Religions. It is also much easier to understand why Jung, the co-founder of psychoanalysis eventually turned to the East.
 Freud, The Ego and The Id, pp.26-28. Freud was a medical doctor, and based the redefinition of the essence of man on a Dualistic, body-soul separation. This separation , allowed Freud, as it had worked for Descartes , to explain the reason and order in existence outside the Abrahamic religious axiom of soul. More focally, this psychical apparatus allowed him to dogmatically assert sexuality as a prime mover of human behavior, and consistently explain the universal phenomenon of an invisible and normally unconscious persona (jiva/empirical ego) accounting for the reason and order in the immediacy of the spatiality and motility of consciousness' relation to nature (the for-itself) without further steeping on the heads of rabbis and priests in Victorian Europe. Of course, we know Jung was not so cooperative, even when Freud offered him the lifetime Presidency of the Psychoanalytic Society ,if Jung would just make a bulwark of his sexual dogma and getaway from the black web of occultism and past lives which also explain the reason and order in consciousness' relation to nature as well as sexuality. Not being able to turn to western philosophy, he turned to the East, and the rest is history, a history of affinity East and West that is becoming more and more profound and relevant.
 Jung, Aion: The Phenomenology of Self, pp. 139-141.Where we are going with this tool called Metapsychological Art is better seen as a medium that relates one's self to Spirit, and hopefully serves others in their evolutionary of spiritual transformation processes. It is what is meant by living one's art, living one's spirituality, rather than an elitist concept of art restricting this meaning of using oils and canvas to simply a genuine new school of art beyond Abstract Expressionism. To theologians and the religious communities of the onsetting age, when showing one God,they will show one the God within rather than an idol coming from an alien supersensible beyond. Metapsychological Art is an art for everybody who wishes to define one's spiritual destiny to a greater extent,and extent one can give figure to through one's own devices rather than relying on the projections and suggestions of others' “authoritarian” or “objective” meanings. This is not a library shelf philosophical, educational, political,or psychoanalytical issue; it exists outside in the realities of space, time, and the world as we live it. The results of these resurrections from the unconscious mind of humanity can also be as philosophically, educationally, politically, and psychoanalytically incorrect as are the realities of space, time, and the world as we live it.
 Thus when one asks another as to the meaning of this or that factor within the one's self, and trusts the answer of another, it might be best figure it out for one's self, through first-hand experience as opposed to trusting the commentary of another.
 Robert Redfield uses this term in The Celestine Prohecy and the Tenth Insight: Holding the Vision. Holding the vision is exactly why the medium of oils and canvas is being employed by the author. Hermann Hesse, a psychiatric outpatient of Carl Gustav Jung, uses the term Magic Theaters in stead of holograms, in his Nobel Prize winning work, The Glassbead Game.
 Jung, Carl Gustav, Man and His Symbols, p. 164.
 What is meant essentially by the soul-mate system, or deja vu, both of which are many times too loosely referred to in everyday life. They are all but household terms in any male-female settings, etc.. Taking these coincidences one step further into a symbolic medium one might be quite surprised as to their spiritual meanings as to one's karmic destiny, which one will find is by no means frivolous. It is the basis of Tantrism in contradistinction to monastic and celibate approaches to spirituality,mysticism, occultism and alchemy.
 See Elbert Benjamine's, Doctrine of Kabalism, Serial #48,The Church of Light. Read in its entirety, paying special attention to Arcanum XII, The Martyr, and Arcanum IX, The Wiseman/Sage.