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Journal of (Very) Speculative Philosophy
(The Officially Certified Publication of
The Inter-Galactic Institute of Confabulology)
Editor and Primary Author:
Adam Blatner, Confabulologist Extraordinaire
Issue #2 January 6, 2011, but drawing on sources from 2007 and hither and yon.
Chapters in this issue include: What it's All About: The Hokey Pokey Theory; Resonant Energy Fields ; and Soul-Concrescence
Chapters in this issue include: What it's All About: The Hokey Pokey Theory; Resonant Energy Fields ; and Soul-Concrescence
What It's All About: The Hokey Pokey Theory of Existence
The Hokey Pokey, a
children's song, really explains the whole thing:
You put your right hand in. This is an allegory of tentative engagement. The whole principle of engaging life is stated right off, yet it's not the "whole self," but only a part. The song progresses body part or section by part, involving first the periphery and then finally the behind, the head, and the whole self--trunk and limbs. We warm up to increasing levels of involvement.
The "put" is key. It symbolizes our creative action, our chosen activity. We may choose out of habit, unconscious momentum, just going along with the crowd, all sorts of reasons---and, indeed, this less conscious choosing predominates. Very gradually, over the last several thousand years, and beginning to speed up a little, there is more consciousness involved in the putting. There is more reflection and insight, knowing what we put, how we put it, to what use we expect our "put" to be put. Put is a weird word, too, expressing the cosmic mystery right in front of our eyes. Contemplate put. Mouth put. Play with different ways of saying put.
Put your right hand out. Withdraw it, point it out of the circle, not ours any more, but mine, and you can't have it. This affirmation of individuality, of autonomy, of privacy, and the choice to be not involved, invested, even hinting at the possibility of not even being in the game, is all indicated. There's a hint of liberation here, of the awareness that there's an in, a circle, and an outside of the game. But we're just putting, so we're still in the dance-game.
In some realities, the dance of Shiva-Nataraj, the Divine Dancer and Dance of the Kosmos, is the Hokey Pokey.
The song goes on to re-invite an engagement, as if to suggest that your freedom to put your right hand out is acknowledged, yet the sense of "come and play with us" trumps this. The clue is the variable of time, of taking turns, of giving us some time to be with us, just as the Divine gives our souls time to be embodied. And we are told that we can be in again (and again.... and again....).
Put your right hand in, put your right hand out, put your right hand in....
...And Shake it All About.
Shake it, baby. Explore the permutations and possibilities of motion of just a hand waving. All the movements can be hinted at, the snaky ones, the sneaky ones, the snotty, shaking-off sticky movements, the waving and wobbling, fist pump and hammer bang, there are thousands of ways you can shake it all about, and you can weave these together symbolizing a dance within a dance, just as our lives operate as lives within lives, the life of the individual within the life of the profession or nation, the life of the cell within the life of the individual, the lives within the lives within the cell, and the lives greater than the lives we are a part of---all are shaking it, evolving, changing, in process.
You Do the Hokey Pokey...
No one has ever actually described the precise movements of this small section of the Hokey Pokey. The term refers to the whole dance, and people just generall shake themselves and wiggle and blend into the next movement...
... and turn yourself about.... turning themselves about...
But this is the core of the mystery, you see. Which way is the right way? Can we add style? How much can this deed be improvised? What do the authorities say? What makes them authorities, and who believes this? Is there a Hokey Pokey? Has anyone ever seen the real Hokey Pokey? Where does this phrase come from? Might there have been a primal ur-hero named Hokey Pokey, and what is his mythic story, which today is acted out as a child's dance? This can be rich in portent and archetypal resonance! Wooooo!
And you Turn Yourself About.
This is part of what the mystery of life and death is, being born near-helpless, dying, near helpless, a 360 degree movement in many ways. And there's that word "about" again, referring of course to meaning, as in what not only this song is about, but what life is about, what it's AAAAALLLLLL about! And through this song we join in the ritual danced by a thousand tribes---though not always to these words or in this sequence, but still embodying many of the elements, the ins, the putting, the out, the turning, and especially the infinite ways one can perform the hokey pokey.
And yet it's not finished. The dance is repeated, as days and seasons, moon cycles and menstrual cycles, life and death and generations, repeated, both the same and yet different, the spiral of intensity evolves. Your left hand, right foot, left foot---and don't forget the great schism of calendrical pasts, in which the high priests of left found rationalized dogma for making it the left hand that began the dance, and left foot leads right foot in precedence. As with the egg scholars in the Jonathan Swift Gulliver stories, wars have been fought over such foolish details.
The spiral unfolds right arm, elbow, knee, head, behind, whole self... though some practitioners have been known to shorten the sequence in the service of time. (Is this permissible???)
Finally, after the whole self and a good deal of shaking going on, the dance ends. Always that end. What do we do then? Something else? Another dance? Another game? A feeling of exhilaration at being warmed up for new kinds of interaction, or an edge of sadness if we feel we must part and can't play more? Such dramas are also what it's all about.
Everything has
resonant energy fields. Electrons, pebbles, blades of grass, trees,
mountains, people. These may resonate in more than one
trans-dimensional sub-dimension, too. More complex beings have more
“octaves” or more complex and finer vibrational differentiations than
simpler beings. Squirrels are far more complex in many ways that
pebbles can’t even dream of attaining.
We feel such resonances between living beings—known as attraction or repulsion, love or dislike, and we play to these in our wanting to express ourselves and be known to, appreciated by, or in other ways affected by our actions. In turn, we play audience to others as they also disclose or express themselves. The more sensitive among us perceive as-yet-unnamed relationships with not-ordinarily-perceived others, angels, gods, spirits, the higher Divine Being fields, and so forth.
Though we have as yet no way of testing these perceptions using any physical-based equipment, that doesn’t mean these resonant energy fields don’t exist. The love between parent and infant is often palpable, and universal. Yet we have not yet figured out clear ways of identifying or measuring such attractions, attachments, desire connections. One could claim to be loving while at the same time planning to do evil. But mostly, it’s fairly obvious.The point here is to make a more conscious, fuller use of that imagery.
Intereestingly: The world of elves and angels should be recognized as “personifications”—not that there is “nothing there,” but rather that what is there isn’t necessarily a “thing,” much less having a discernable physical form. Yet people tend to project anthropomorphic (human-like) features, so these fields seem like big or little people, or sometimes even animals.
We are expressions of an aggregate soul experience. Reincarnation does not happen from a single soul to a single soul, but rather, we are an aggregate of many, many soul elements, and in turn, we add to and mature or develop those in various ways, add new ones, let others wither, so that at our death, we dis-integrate again into many, many soul elements. These in turn are shuffled and re-distributed into other souls as they aggregate and form.
This theory is no more (or less) implausible than the theory of a single soul incarnating into a single new soul, and it has certain advantages:
First, it helps to explain the odd bits and incongruous elements in our makeup. Second, it responds to the implicit question, “have we been promoted or demoted” by considering that in different ways, a bit of both and then some.
We draw, furthermore, from a variety of sources, according to the laws of attraction. Some souls are more taken from the resonant energy fields that once involved elves, angels, sprites, faeries, and other non-physical beings; some from ancestors; some from ideals or people from cultures that seem to evoke some connection in our present life. Some extra-terrestrial beings may also be part of this blend.
In turn, our soul products at our death infest, invest, influence all manner of beings—and in the scientific-biological model, there is a certain unconscious pleasure derived from this, from fertilizing and passing along our “genes” to many offspring. This drive may be discerned in many aspects of nature. “Memes” or psychoid complexes may also be spread this way, realizing that mind-dimensions also are a part of the Whole of the Kosmos.
Another value in this theory is that it invites us to explore and enjoy the multiplicity of elements, motivations, interests, tastes, that make for our remarkable individuality. Rather than thinking that the discovery of our “true” self (singular) can be boiled down to a few essential elements, this approach celebrates the richness and complexity of our selves (plural). To dance these in the form of a seemingly individual (non-divided) is like a symphony orchestra finding the music that best expresses its makeup and inner variety, its full potentials of loudness and color.
For a good time, check out my cartoons and mandalas in the sub-website about cartoons
You put your right hand in. This is an allegory of tentative engagement. The whole principle of engaging life is stated right off, yet it's not the "whole self," but only a part. The song progresses body part or section by part, involving first the periphery and then finally the behind, the head, and the whole self--trunk and limbs. We warm up to increasing levels of involvement.
The "put" is key. It symbolizes our creative action, our chosen activity. We may choose out of habit, unconscious momentum, just going along with the crowd, all sorts of reasons---and, indeed, this less conscious choosing predominates. Very gradually, over the last several thousand years, and beginning to speed up a little, there is more consciousness involved in the putting. There is more reflection and insight, knowing what we put, how we put it, to what use we expect our "put" to be put. Put is a weird word, too, expressing the cosmic mystery right in front of our eyes. Contemplate put. Mouth put. Play with different ways of saying put.
Put your right hand out. Withdraw it, point it out of the circle, not ours any more, but mine, and you can't have it. This affirmation of individuality, of autonomy, of privacy, and the choice to be not involved, invested, even hinting at the possibility of not even being in the game, is all indicated. There's a hint of liberation here, of the awareness that there's an in, a circle, and an outside of the game. But we're just putting, so we're still in the dance-game.
In some realities, the dance of Shiva-Nataraj, the Divine Dancer and Dance of the Kosmos, is the Hokey Pokey.
The song goes on to re-invite an engagement, as if to suggest that your freedom to put your right hand out is acknowledged, yet the sense of "come and play with us" trumps this. The clue is the variable of time, of taking turns, of giving us some time to be with us, just as the Divine gives our souls time to be embodied. And we are told that we can be in again (and again.... and again....).
Put your right hand in, put your right hand out, put your right hand in....
...And Shake it All About.
Shake it, baby. Explore the permutations and possibilities of motion of just a hand waving. All the movements can be hinted at, the snaky ones, the sneaky ones, the snotty, shaking-off sticky movements, the waving and wobbling, fist pump and hammer bang, there are thousands of ways you can shake it all about, and you can weave these together symbolizing a dance within a dance, just as our lives operate as lives within lives, the life of the individual within the life of the profession or nation, the life of the cell within the life of the individual, the lives within the lives within the cell, and the lives greater than the lives we are a part of---all are shaking it, evolving, changing, in process.
You Do the Hokey Pokey...
No one has ever actually described the precise movements of this small section of the Hokey Pokey. The term refers to the whole dance, and people just generall shake themselves and wiggle and blend into the next movement...
... and turn yourself about.... turning themselves about...
But this is the core of the mystery, you see. Which way is the right way? Can we add style? How much can this deed be improvised? What do the authorities say? What makes them authorities, and who believes this? Is there a Hokey Pokey? Has anyone ever seen the real Hokey Pokey? Where does this phrase come from? Might there have been a primal ur-hero named Hokey Pokey, and what is his mythic story, which today is acted out as a child's dance? This can be rich in portent and archetypal resonance! Wooooo!
And you Turn Yourself About.
This is part of what the mystery of life and death is, being born near-helpless, dying, near helpless, a 360 degree movement in many ways. And there's that word "about" again, referring of course to meaning, as in what not only this song is about, but what life is about, what it's AAAAALLLLLL about! And through this song we join in the ritual danced by a thousand tribes---though not always to these words or in this sequence, but still embodying many of the elements, the ins, the putting, the out, the turning, and especially the infinite ways one can perform the hokey pokey.
And yet it's not finished. The dance is repeated, as days and seasons, moon cycles and menstrual cycles, life and death and generations, repeated, both the same and yet different, the spiral of intensity evolves. Your left hand, right foot, left foot---and don't forget the great schism of calendrical pasts, in which the high priests of left found rationalized dogma for making it the left hand that began the dance, and left foot leads right foot in precedence. As with the egg scholars in the Jonathan Swift Gulliver stories, wars have been fought over such foolish details.
The spiral unfolds right arm, elbow, knee, head, behind, whole self... though some practitioners have been known to shorten the sequence in the service of time. (Is this permissible???)
Finally, after the whole self and a good deal of shaking going on, the dance ends. Always that end. What do we do then? Something else? Another dance? Another game? A feeling of exhilaration at being warmed up for new kinds of interaction, or an edge of sadness if we feel we must part and can't play more? Such dramas are also what it's all about.
Resonant Engergy Fields
 |
We feel such resonances between living beings—known as attraction or repulsion, love or dislike, and we play to these in our wanting to express ourselves and be known to, appreciated by, or in other ways affected by our actions. In turn, we play audience to others as they also disclose or express themselves. The more sensitive among us perceive as-yet-unnamed relationships with not-ordinarily-perceived others, angels, gods, spirits, the higher Divine Being fields, and so forth.
Though we have as yet no way of testing these perceptions using any physical-based equipment, that doesn’t mean these resonant energy fields don’t exist. The love between parent and infant is often palpable, and universal. Yet we have not yet figured out clear ways of identifying or measuring such attractions, attachments, desire connections. One could claim to be loving while at the same time planning to do evil. But mostly, it’s fairly obvious.The point here is to make a more conscious, fuller use of that imagery.
Intereestingly: The world of elves and angels should be recognized as “personifications”—not that there is “nothing there,” but rather that what is there isn’t necessarily a “thing,” much less having a discernable physical form. Yet people tend to project anthropomorphic (human-like) features, so these fields seem like big or little people, or sometimes even animals.
Soul Concrescence: A Multiplicity-Oriented Theory of "Reincarnation"
Let's have some fun! Let's practice the non-ancient activity of making-it-up-as-you-go-along-ism, also known as improvisational philosophy. In these webpages I shall be inserting theories and drawings that illustrate a number of esoteric goodies. |
We are expressions of an aggregate soul experience. Reincarnation does not happen from a single soul to a single soul, but rather, we are an aggregate of many, many soul elements, and in turn, we add to and mature or develop those in various ways, add new ones, let others wither, so that at our death, we dis-integrate again into many, many soul elements. These in turn are shuffled and re-distributed into other souls as they aggregate and form.
This theory is no more (or less) implausible than the theory of a single soul incarnating into a single new soul, and it has certain advantages:
First, it helps to explain the odd bits and incongruous elements in our makeup. Second, it responds to the implicit question, “have we been promoted or demoted” by considering that in different ways, a bit of both and then some.
We draw, furthermore, from a variety of sources, according to the laws of attraction. Some souls are more taken from the resonant energy fields that once involved elves, angels, sprites, faeries, and other non-physical beings; some from ancestors; some from ideals or people from cultures that seem to evoke some connection in our present life. Some extra-terrestrial beings may also be part of this blend.
In turn, our soul products at our death infest, invest, influence all manner of beings—and in the scientific-biological model, there is a certain unconscious pleasure derived from this, from fertilizing and passing along our “genes” to many offspring. This drive may be discerned in many aspects of nature. “Memes” or psychoid complexes may also be spread this way, realizing that mind-dimensions also are a part of the Whole of the Kosmos.
Another value in this theory is that it invites us to explore and enjoy the multiplicity of elements, motivations, interests, tastes, that make for our remarkable individuality. Rather than thinking that the discovery of our “true” self (singular) can be boiled down to a few essential elements, this approach celebrates the richness and complexity of our selves (plural). To dance these in the form of a seemingly individual (non-divided) is like a symphony orchestra finding the music that best expresses its makeup and inner variety, its full potentials of loudness and color.
For a good time, check out my cartoons and mandalas in the sub-website about cartoons