John Milton’s “On His Blindness”: The Quantum Miracle of the Mulberry Tree (The Existential Tribal Involuted Matter in Protein Genesis: Art of Van Gogh and Gauguin)

The Mulberry Tree, Vincent Van Gogh,October, 1889

“After that he put his hands again upon his eyes, and made him look up: and he was restored, and saw every man clearly”. – Matthew ch. IX

Quantum miracle that was performed at ease by Christ had its origin in the esoteric training at Shambhala. The Superconscient Force which when activated with a high-degree non-dual orbital spin generates shifts in space-time coordinates violating Cartesian principles . The pull-string technique of the time-moun acceleration generates extra-cosmic synthesis of light in matter to grant the pure physical vision (active-inactive). Thus, such powers latent in the subatomic canvases of the human mind can enable a John Milton to write one of the best known sonnets ‘On His Blindness’ even when he became completely blind. Milton was serving the god-infinite, the god-within and the god-without. He was writing for the whole creation – the act of giving life-vision to enlighten the parable of talent which man possesses by virtue of his special birth is a miracle in itself. This birth is also that of an inner-vision, an inner-hearing as well, which made Beethoven compose symphonies even when he was deaf.

“They also serve who only stand and wait.”- (On His Blindness- John Milton)

The degree of patience that one can have to understand the intuitive logic of a complex pattern of matter entanglement with the spirit, is also a fundamental key to understand the Fibonacci series of his geometric questioning of the self (the enquiry into Brahman, Para-Brahman) to logocentrically deny the existence of any such metaphysical entity by putting the faith-numbers on the ‘Alice in the Wonderland’ causal diagram in a verifiable hyper-space. Higher the faith number greater the power to mould the destiny because then consciousness generates its own retro-cause for its unlimited butterfly-effect to change substance in primitive order according to a supra-cosmic law of perfection.

Eyes and ears sum up the message

In the twilight sun, the host is a red cupola of the aloa-aloa

Between the destiny and the past, falls the shadow

Present is a uni-triangular vector meditating beneath

Points connect to the cross to negate death in the system

Far beyond the land, the seas and the rocks

He sits, the wheel of prayer moves- it moves not

Time compassion erupts in the void.

– Joy Roy Choudhury

Advertisements

Peter Paul Rubens’ Celestial Light of the Origin in his paintings and the Transformation of Matter by White Light Synthesis (Jim Morrison & Jerry Garcia as apostles to Dionysian and Apollonian Forces in the Landscape)

Landscape with a Watering Place, Peter Paul Rubens, Louvre, Paris, France

Peter Paul Rubens’ Celestial Light of the Origin in his paintings and the Transformation of Matter by White Light Synthesis (Jim Morrison & Jerry Garcia as apostles to Dionysian and Apollonian Forces in the Landscape)

The painting here summarizes the glow of the celestial light of the origin if we think ‘dark matter’ is the source of everything in this creation. The yin-yang in the painting is the subtle interplay of the senses between auditory and ocular mediums creating a kinaesthetic effect that transforms time into an ‘ever present paradox of the moment’- the ZEN of immutable delight or ‘ananda’ in the temporal process of existence. Here the god is not so much the object outside in the phenomenal world, but in ‘man as reality’ of a benevolent shepherd, who takes care of the flock and the community, as the ‘para-prakiti’ finds the magnet in him as in herself. This ontological classification of man within the hierarchy of God the Father acts as a kind of memory-painting intertext  of an ecologically conscious artist who knows his ‘being’, lives in that ‘idyll’ of supreme intelligence in the Brahman, and finds his inspiration from the Shakti/Nature.

Though Rubens’ landscapes are about the expressions of light (internal, external), there is also a finer judgement in his works that pastoral settings are not only about the exuberance of life, but integral nature of it also presupposes a degree of sadness in it because, ‘life-death’ are continually harnessed in our biological self, in the cells and in the cosmic order of things.

The deeper monotone of emotional suffering is a Dionysian force (that finds joy in death and negation) operative in nature that unveils the secret of ‘mind’ in matter for the process of integral synthesis and transformation.

Jim Morrison experienced similar forces when he wrote: “moment of inner freedom/when the mind is opened and the/infinite universe revealed/& the soul is left to wander/dazed & confus’d searching/here & there for teachers & friends”. It’s the same ‘quantum multiverse’ that’s opening to him as in the painting, ‘exaltation’ often bearing a touch of loneliness as it grapples with infusion of time with the solar plexus of eternity.

The quanta of qualitative judgement is not the focus of the artist or the poet/singer but the experiential qubit is the only statistical proof of his ‘faith’ in ‘nature and in ‘him’, as the source of the carrier-particle is often hidden in the square-root of its quantum-multiverse. The trees and houses in the background are brimming with Apollonian grace – a conjunction of light and matter, as one sets the law to sustain the harmony of the other (theory of sustainability and order) in itself, and by it, as a rare proof that both forces can simultaneously exist to bring equitable distribution of the quality of light intensity in the mind (internalisation process as para-truth verification) as consciousness in matter.

Jerry Garcia who gave music to Robert Hunter’s words in the Grateful Dead song The Eyes of the World, can be seen as a ballad that connects with the Apollonian force present in the painting.

“Wake up to find out

That you are the eyes of the World

But the heart has its beaches

Its homeland and thoughts of its own

Wake now, discover that you

Are the song that the morning brings

But the heart has its seasons

Its evenings and songs of its own”.

The song that morning brings is a template of the artistic source within, the Tao of life  is a higher integrated substrate of the cosmic synthesis of light in matter to activate consciousness in its time.

– Joy Roy Choudhury

The Royal Qubit Time Translation in Horus: Quantum Information in Alluvial Matter

Time Tantra of Horus, Monalisa, 2012

In the eye of the stone, Horus is the trans-syllabic transformer connecting diagrams with the invocation of the soul

Param-Purusha parame

The automated flow of words is the deep sounding melody of consciousness (the para-trath flow of the virgin-truth) in the electro-dynamic plate of the Hyperion

Old worlds come out of new ones in the cradle of time

The future specimen of art, poetry, music is organised

Therefore, you desire the verse of multiple visions that come out of the dying pyramids in the desert

The Nile is an obligatory vessel carrying the therapeutic purging of its lands in a hymn to yellow ochre robe of the sun

That was an emblem of the emperor’s throne in the bio-rhythmic abacus of the mind

Babaji Maharaj

Creation was an extrapolation of a high-conducting vessel that carry the four forces within Zen-semiconductors transplanted in the body of AYUSHA(HA)UWAR {IS-IN-WAS-WOULD-BE)

The dark face of the moon resembles the bright side of the sun

The stars essay a series no-end no-beginning

In the mad frenzy of the fire in the stone, I saw, death taking its first steps to walk in the garden of EDEN/Immortality (Kriya-Yoga of Babaji Maharaj)

The falcon free as a bird hatches a new history that confines the past not in the past of its past but in the present brought from the future

Rivers are flowing in the irreversible way

Time is dancing like ‘Kalki’

Truth brought on the surface may shatter the earth into a billion pieces

Shantih-Shantih-Shantih

– Joy Roy Choudhury

Within the Democracy, the Stone of Suffering gives Birth to a New Star: The Zarathustra-Zen Apocalyptic Second Coming

The Star on a Gaussian Plane, Monalisa, 2012

Consciousness-Analogue

The Rose a symbol of purity is the arch-gate of the Cross

The Star of David is the consciousness of the stone as time that evokes the eternity of the Second Coming as a visual prerogative to the future

(<A> weak <destiny|A|history>/<destiny|history>)

History alters destiny by back-formations from the future.

Eloquence is a sweet time translation machine

Supramental perfection makes time surrender to the gratitude of the particle

Quarks and Leptons attain pre-cognitive identity with the ‘para-ananda’ field of cosmic interactions

Brahman is laughing when Shakti is dancing (causal synthesis of higher-proteins from carbon chains)

Vra-uj-ni Vra-uj-ni Ala-la Ala-la

Kashmir is the land of resurrection (Revelation gate of Supramental Order)

To tune with the stars of infinitude

Bramha-Surya must be the Lila of Intelligence in the Parat-Para moksha

Thou seek the destiny from the stone in Shambhala

Om Adi Om Adi Chintamani

The circle-zero evolutes in the nano infinity of the mind

Silence crawls

Leaves fall

The ocean full of bliss

Memory is the cyclo-cylindrical dance of an ant in the sweet pool of nectar

Each drop seeking the other to father the rhyme of the race

These are words coming from the inner-circle of Olmo-lung-ring

Thy time has come to ride the horse of the Golden Clock

Alblackica alblackica brihat brihat alblackica

– Joy Roy Choudhury

Salvador Dali as Field Activator’s Prerequisite to Cognition in Consciousness: Towards Hiprivatox Supramental Gate

The Disintegration of the Persistence of Memory (1952-54), Salvador Dali, Salvador Dali Museum, St Petersburg, Florida

I am the Alpha and the Omega, the First and the Last, the Beginning and the End (Revelation 22:13)

 Consciousness-Analogue

The clock separates itself from time and eternity

It’s the liquid drip of the ocean of Dali in the fire of the light

The fish is the human aspiration towards greater certitude in reason

That death cannot become the name of the angel that breathes life into inanimate things

Immortality is the only hope of the artist who seeks perfection in everything   

The whole is not the whole but broken fragments that play up to infinity

Alpa-memory of history is the root cubic track-vessel of destiny greater than one

Coming back I saw grey dust clouds gathered over the Himalayas

Rain was the whisper of the piper’s dream before the dawn of the great voyage

“Enter into the joy of your Lord” .

Music overflowed in the land of paradise

From Shambhala I see the white roses embroidered on Bodhisattvas

They rear the Lost Shepherd of the primal race

In the golden rhyme of the ancient mariners

The stars were once the dead retro-galaxies of dark energy acceleration

Within a uniform length cut into pieces by the tailor of Ommersholm

The bowl was eating rice laughing from the nest of yung-drung bon-bon yung-yinghom-yia-yiyi

In the singing hologram of the mandala, Hiprivatox Supramental Gate was the only omega point of consciousness on earth.

– Joy Roy Choudhury

Ref: “Enter into the joy of your Lord” Matthew v.25/l.21

The Rolling Stones Bending of Quantum Time and the Sinusoidal Projection of Morocco

Pic 1- The Rolling Stones, Morocco, 1965

The Rolling Stones Bending of Quantum Time and the Sinusoidal Projection of Morocco

TIME IS ON MY SIDE, YES IT IS!

Matter is ulvatrohim cognition of infinitely small distances in an infinite series that add up to one. Motions are programmed preconditions of Zeno’s tortoise activating time liquid jet propulsions to escape the gravity. A levitating grammar of ‘primordial soup’ can fashion the word’s artistic chemistry as an affluent anti-matter in the sun. Lights in the bazaar are sidewalkers resting on the carpet playing the gramophone as nights prolong the dawn of the meteorites in the tick-tock of the clock. Music follows its ears making hollow wood reverberate the strings.

A mulling postcard wish eternity

Policy left dreams hope in anguish

Good times still roll like the stones!

– Joy Roy Choudhury

Consciousness as Para-Prakiti Magnet at the Heart of Nature: The Quantum Dynamics of Beatles’ song Dear Prudence

“Dear Prudence open up your eyes     

Dear Prudence see the sunny skies

The wind is low, the birds will sing

That you are part of everything

Dear Prudence won’t you open up your eyes”.

-“Dear Prudence”, The White Album, 1968 (written by John Lennon while The Beatles were in India)

 Consciousness as Para-Prakiti Magnet at the Heart of Nature: The Quantum Dynamics of Beatles’ song Dear Prudence

Opening is a small fractal bursting – the comets of shape magnetize the body burning the coal in the heart of things – wild petro-rose of the dark years of existence can only make the child come out and play: “the wind is low, the birds will sing/that you are part of everything”. The part with the whole and the part without the whole is the quantum analytical judgement based on Bose-Einstein Condensate. What matters is the smile on the child’s face that automatically brings the child into play. The quarks and the leptons are auto-repairing their pairs to fit the groove of a benevolent time in the 4 quartets of the alblackica space. Are you joining this great stage to make a comeback?

Stars are in fractions         

The sky pivots on itself

Trees gather photons from waves

The child is the face of the moon tonight

Dwelling in the night of its future

vivi-afa-afa-vivi

Nectar of light falls on the butterfly

It sees its colours on the book of changes

Time is the cradle of wings that soar.

– Joy Roy Choudhury

Ref: Pic 1- Beatles in India & P b/w -Beatles in India (Feb, 1968)

The Arhat Fire as Circular Spring in the Micro-Gravity of Existence: The Lunar Album of Leonardo da Vinci as Dot Consciousness in the Sun

 

Leonardo da Vinci, Self Portrait in Red Chalk (1512-15), Royal Library of Turin. 

The Arhat Fire as Circular Spring in the Micro-Gravity of Existence: The Lunar Album of Leonardo da Vinci as Dot Consciousness in the Sun

Consciousness-Analogue

Poetry evokes consciousness that solidify plasma states of matter as the neo-platonic Arhat fire in the rectangle

Words I said are not vain tresses of the charcoal portrait of a lady in front of the mirror of duality and imperfection

They are kind aphorisms of the master’s key; I saw in man the heavy-built structure

Anatomizing the industrial scope to demonstrate the technique of tools

Shadows are compensated by the lines of force drawing man back from the infinity

The point is further from the eagle-point gyrating consciousness in an equilateral triangle

Therefore, you may travel as a freemason by the boat-proton leap in outer space

Searching for the diamond fixity in the Higgs mountain growth of curvatures

Channelizing power as wisdom in the salt-plates of alblackica

Helium was manufactured by the Heliosyncretic process of the artists’ occult eye

The coming of the metaphorical ship illumined the islands

The inhabitants rejoiced: “reva-reva-vrahum-reva-adi-sanatan param-bramha”

Nocturnal stars drank like Bacchus from the nefa-vessel of the Apollonian sibyl

Dattatreya adi da Vinci in the pure mercury of Hydrargyrum floating

Hegel astonished by the law of multiples

Called him the father of rural lapis in becta-izax realism?

– Joy Roy Choudhury

 

 

The Future Seconds of Man as a ‘Time-Carrier Particle’ in the Renaissance of da Vinci (The Vitruvian Man, Monalisa and The Last Supper)

Snow Leopard Cradle, Joy Roy Choudhury

The Future Seconds of Man as a ‘Time-Carrier Particle’ in the Renaissance of da Vinci (The Vitruvian Man, Monalisa and The Last Supper)

“Time present and time past 

Are both perhaps present in time future

And time future contained in time past” – T. S. Eliot

Consciousness-Analogue

The Vitruvian Man (1485) is a kind of time-link fiber carrying the essentials of divinity in man; it hatches the corporal sensuality of ‘beauty in mysticism’ in the artist’s mind, and, that has led a da Vinci to discover ‘Monalisa’ (1503-05/07) as an unequivocal affirmation of the ‘para-prakiti’ consciousness magnet with the power to transform lives. Both these two paintings are a route to rediscover The Last Supper (1498) which is not a historical setting put into canvas, but, a social template of the Lord in him and in the populace, and he in the Lord by the act electromagnetic attraction. The wisdom of the 12 apostles is the process carried forward by the 12 particles -the 6 quarks and the 6 leptons by the action-inaction of the tetra-forces (strong, weak, electromagnetic, gravitational) of cosmic interactivity. Contemporary music like that of Johannnes Ockenghem (ca. 1420-1495) who composed French chansons and delved into polyphonic music  was able to extract the singularity of ‘purity in sincerity’ to demonstrate the early ‘awareness of being’ in the causal process of time-elongation. The elasticity of the mental/psychic being while pursuing the creative Skills-Limit  α threshold ( a condition of yogic-meta perfection of qualitative quantity in work) was also observed in Guillaume Dufay (1397-1474) and in the music of Josquin Desprez (1440-1521) and Leonardo Praetorius (1571-1621). Music was following what modern day quantum physicists say ‘signal nonlocality’ allowing time-consciousness to emerge as a retrocausal balance to preserve the ethical kinship it had with the ‘origin of the origins’ beyond big bang and black holes. The symbol of ‘artistic intrusion’ into the dark matter of existence to perhaps comprehend the massive grace-conscious matter of this creation was first put in as an example of the ‘examination of the self’ in man and in nature of ‘binary and multiple existence’ (all perceived in twos or threes than in ones) by the paintings of da Vinci’s The Vitruvian Man , Monalisa and The Last Supper. They convey the idea of a plastic super-intutive future for man in the polymerization of collective-conscious will-aggregators (the sat-guru blessing!) for the liberation of matter from the bondage of gravity. The Last Supper is the ‘perennial hope’ in man to resolve the equation of his destiny by a ‘future choice that can affect the past measurement’s outcome (Yakir Aharonov’s retro-future) by the inner-self reflection of the Grail Light of the Sun. There, Horus is the Surya-Savitri of the Supramental Supramental state in the Extrohan Cause to perfectly annihilate itself in the Large Hadron Collider to remake in man the vision he shared in the dark beginning of no-ends. The non-duality of a monochrome in a super-fluid vastness is the sweet bud of a labyrinth rose that sheds tears as smiles; it’s a form that impregnates other forms making time work as a carrier-particle in the evolution  of ‘occult Madonna as Monalisa’ in the painting of da Vinci. The painting finally culminates to a point of stillness in the eyes of Monalisa talking to its audience in a manner seldom understood in contemporary art.

“Only by the form, the pattern

Can words or music reach

The stillness”.  (Burnt Norton, T.S. Eliot)

“And do not call it fixity

Where past and future are gathered.

Neither movement from nor towards,

Neither ascent nor decline…” (Burnt Norton, T. S. Eliot)

– Joy Roy Choudhury

The Cross is the Yin-Yang Gnostic Alter-Piece of the Life-Cycle (Fermion-Disc Harvesting Time)

The Cross is the Yin-Yang Gnostic Alter-Piece of the Life-Cycle (Fermion-Disc Harvesting Time)

Photograph, Joy Roy Choudhury

Consciousness-Analogue

Circle is the epiphany of the Feast (The Last Supper, da Vinci) in the divine innocence of the true child. The centre of the circle is the virgin infinity of the Para-Brahman Chakra in the eye of the seer seeking the Adi Chintamani. The stone is the grail where blood crystallizes the sun in the mad judgement of the life coming from the dead.

Immortality is the embryo that darkness child in the blind faith of  light’s destiny; Innovation is a pure bliss of the ‘spirit’ in ‘matter’- mater consciousness ‘spring-nest’- al-garabi- vacuum is white-iron-hard-matter (727.727) in white-steel-hard-matter (828.828).  It’s the quest of a singular incarnating point of consciousness to navigate the circumference of the creation by the free-sacred, free-choice of the Extrohan cause. The dead are now living in the physical plane talking like the winds do while dancing their way between bamboo leaves that form an arc of the quarter moon in the half light of the sun.

“Weng gathia wun guvra vhi

 Weng gathia woan mui trasu

 Nui tra dhip nui tra geth

Nui tra wajed vhi tak grivam” ( mantra lines absorbed from Noah)

Peace, Peace, Peace!

– Joy Roy Choudhury

Ref: Pic 2, Joy Roy Choudhury