Existence is the enchanting interplay of vibrations. In order to express themselves, they must organise in recognizable patterns that stand out from the otherwise more or less homogeneous (yet seething) apparent uniformity of the background Chaos. As Hesiod describes in his Theogony, Chaos was the first to come into being. The extant expressions of vibrations are the result of mutual reinforcements, which establish rhythms and harmonies. With these rhythms and harmonies codes are born as the other side of the same coin. The universe (or multimetaverse) thus is not only a collection of resonances, a great musical performance, but also an expression of a transdimensional language. In Tolkien's Silmarillion the universe is also created from Music. In the Greek mythology Music and language (in the form of poetry) are inextricably interwoven. The inspirational Goddesses, the Muses gladden us with their sung poetry accompanied by flute, lyre and harp. The etymological root of Music can be found in the Greek "Mousike", which meant "metrical speech". Language, music, resonance, harmony, melody, dynamics and rhythm are all part of the one and the same universal ground mode of expression.
Every vibration that has been able to loop back to itself and bite itself in the tail as our mighty Worm the Ouroboros, has formed a so-called standing wave comprising a whole number of wavelengths. These self-convoluted strings pulsate, dance and breathe the rhythm of life, which thus start at the simplest form of being-beyond-chaos. As these vibrations sense their own heartbeat due to the feedback and self-resonance, they exhibit a minute form of sentience. They are the most primitive monades, drops of individualised alter ego's in an ocean of otherwise undifferentiated primordial Consciousness. First they form space, the ether or the effable Akasha. As these reality cells of the effervescent waves of the ocean of Consciousness, form the quantum foam, they establish Mnemosyne, the memory of the universe. As this spawn is inseminated with the presence of Consciousness trying to explore these forms that arose from it, the first particles of the standard model are formed. And as they breathe and sound, they inspire us with the seven tones of the heptatonic music scale and enliven us with the twelve tones of the picturesque chromatic scale.
They are Varro's muses Aoide (song), Melete (practice) and Mneme (remembrance). The other tones tell us the tales of the muses Calliope (epic poetry), Clio (history), Euterpe (flute and lyric poetry), Thalia (comedy), Melpomene (tragedy), Terpsichore (harp and dance), Erato (love poetry), Polyhymnia (sacred poetry) and Urania (science and astronomy).
As Consciousness breathes the foundational rhythm of AUM, it inspires all its manifestations. It summons all the spirits of the Goetia and Theurgia, but most of all our beloved Muses, who have become -as already mentioned- the Goddesses of inspiration. The etymological root of inspiration can be found in the Latin inspirare, which means to breathe or blow into. Its meaning is that it fills the mind and the heart with grace prompting them to act creatively.
And to act creatively, they have to interact, thus shaping the greater Symphony, which we know as material existence. As bigger particles form (protons, neutrons), higher aggregation levels of existence can be created (atoms, molecules), each of these levels is also enlivened by an additional higher level witnessing presence of consciousness, an individualised alter ego, whose energy and wavelengths match the size of the aggregate in question.
All these energy interactions are communications, exchanges of messages, informational currency and language. Not human level language as you and I know it, but a form of mutual information-transfer nonetheless.
Seen in this light, Terrence McKenna's psychedelic assertions, that the universe is ultimately language, are not completely unexpected or surreal. They also neatly fit into the CTMU (Cognitive theoretic Model of the Universe) philosophy of Chris Langan. So not only is reality simultaneously Panmusical, Panresounding, Pancomputational and Panpsychic, it is also Panlinguistic.
More of this chapter in my upcoming book "The Ouroboros Code".
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