Sankirtan-Lila in the Coming Time: The Last Resort at the Final Hour (How Chanting can Evoke an Action Potential and Generate Collective Synaptic Entanglement for Evolution)

 

 

Krishna Calendar Art

Lord Krishna, Calendar Artwork

Skulls lying on the grass

And bones rattled in the whispering haze                    Jesus in the Wilderness (Forest of the Retreating Spirit Far Arden Again)

Are looking at each other

And directing their vision on a ray of empty sunbeam

They are talking about the moment of resolution

Where time has lost its speed in the stillness of the void

And space like a stranger without an address or passport

Is forever arriving on the transit

Walking without walking

At the eternal terminal of no end

Where speechless mind reaches the silence of the stars

In the field where the knower is the known

It then has become the totality of all experiences

Existential, pre-existential and integral brand of the Brahman

Exploring its own potentiality through myriad means

A spark of awareness in its universal plan

Can transcend the material reality of the worlds

By the sweetest interplay of Sankirtan-Lila

“Hare Krishna Hare Krishna

Krishna Krishna Hare Hare

Hare Rama Hare Rama

Rama Rama Hare Hare”.

-J

 

 

 

 

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A Strange Bus Ride with Quetzalcoatl: An Unknown World of Pre-Natal Blue Lights as Summons for Jim Morrison and Novalis

An American Prayer, Jim Morrison

An American Prayer, Jim Morrison

The Blue Flower

The Blue Flower: The Divine Mother Symbol

A Strange Bus Ride with Quetzalcoatl: An Unknown World of Pre-Natal Blue Lights as Summons for Jim Morrison and Novalis

“The blue bus is calling us

The blue bus is calling us

Driver, where are you taking us”. (The End, Jim Morrison, The Doors, 1967)

The finite image of the blue bus mentioned by Jim Morrison in his lyrics ‘The End’ opens up a lot of infinite possibilities within- it stands for the archetypal image of Novalis’ ‘blue flower’  (Nilkantha, the blue flower resembling the throat of Shiva after he drank the world-poison to save the cataclysm) ) which stands for the love for beauty in things – the reality that Einstein said was comprehensible. Though, locally it may stand for a pain killer that was often used by the 60’s aficionados, it was more a conscious search for the inner-nature in man – the ‘self’ that hides in the body, the self’ that is connected with ‘many selves’ in the cosmic world. This was an individual moment of self-realization, a movement that is subjective and non-local as well. The finite melts beyond a certain point of perception and if the doors are cleansed then it is a clear call (Light signal Flash) from the other side, into an infinite blue welding of matter in consciousness and consciousness in matter. The image of the bus is symbolic of a modern man’s journey into the infinite cities, the ‘psychedelic experiences’ that we seek to return us back into that state of pristine innocence which William Blake talked about in the Songs of Innocence. ‘Experience’ grants ‘innocence’- the lamb of god is same as the wrath of the tiger:

“In the juvenescence of the year / came Christ the tiger / … Us he devours”.

– T. S. Eliot (Gerontion)

Sri Aurobindo’s disciple Dilip Kumar Roy (dadaji) was once told by his friend Krishnaprem while talking about Sri Krishna that we should never miss ‘the last bus to cross the frontier’, metaphorically it’s the faith that we should never sacrifice in our lives; faith in ourselves, faith in our abilities because it is the only source of our power and thinking.

Novalis’ ‘blue flower’ and ‘Jim Morrison’s ‘blue bus’ have the same implications, they draw us into a different realm that is beyond our three-dimensional existence. We in our ‘natural yogic state’ have access to these worlds as long as we awake ourselves from ignorance and death.

– Joy Roy Choudhury

THE DYING SWAN MOVEMENTS OF THE CLOCK AND THE CLASSICAL EPIPHANY OF ALBERT EINSTEIN’S TIME DILATION: THERE IS NO MORE FIRMAMENT

 

THE DYING SWAN MOVEMENTS OF THE CLOCK AND THE CLASSICAL EPIPHANY OF ALBERT EINSTEIN’S TIME DILATION: THERE IS NO MORE FIRMAMENT 

The Dying Swan, ballet performed by Anna Pavlova circa 1910

The Dying Swan, ballet performed by Anna Pavlova circa 1910

 

Consciousness-Analogue

Colours are splashed by the sun’s primal meridian

Evoking the silence of silvery nights

Dim light’s ambrosiac reminiscer of the seas

Over a book of Hamlet, recollecting

Ancient coins, stamps, murals and seals

Time’s prolific mistress Ophelia is drowning

Drowning in the indistinguishable ether of memory

At the bottom of the floor the mosaic patterns mirror oblivion

Unoccupied by the birth of a star or a stream that flows by in

Words are radioactive decay of atoms causing collapse

Silence is the superposition

Thinking allows us to master the universe

In the holy Ajna, the sacred fire is the peacock’s wish to dance like the rain

Darker the clouds lighter the burden of the sinuous hills

And as the peaks coiled like serpent’s tail He Fathered the deep symmetry of the race

 

 

Events that become the ground reality of things self-collapsed into one possible nothingness frame

Rest all are mathematical projections of the hyperspace functions

Divine Mother, Mirra Alfassa

Divine Mother, Mirra Alfassa

The candle doesn’t mark the end of time but eternity

As long as we live as ‘one in many’, in the many fields of the Symbolist Movement

Crossing the frontier with Mallarme and Laforgue

Into the dead analogous world of parallel uncertainties

Paris transfigures

As Rome as Venice

The flowers in the garden

Bringing Her glory of the spring

Nestled in the relative harmonics of simultaneity

Sharp like the knife’s edge in the chill delirium

Voices ringing in the far-off shores

Felt the constant stillness of the soul.

The actor suffers to deliverance

The mob cracks; the walls, the fire

‘THERE IS NO MORE FIRMAMENT’

Far and beyond as near to nearness compelling thy light

To manifest itself in the synecdoche of universal bliss.

 

-Joy Roy Choudhury

Ref: ‘There is no more firmament’, one-act surrealist play by French playright Antonin Artaud, 1920s

The Photographic Images in the Slice of Space-Time is the Well Defined Moment Restored to Perceive the Eternal ‘Jyoti’: From Light Bending to Become Light in the Yuwaziha

The Photographic Images in the Slice of Space-Time is the Well Defined Moment Restored to Perceive the Eternal ‘Jyoti’: From Light Bending to Become Light in the Yuwaziha

Billiard Table

                                                                                            Yerexa reta al hou razib pelam

Maha-Avatar Sri Babaji Maharaj

Maha-Avatar Sri Babaji Maharaj

Time flies awaiting the cosmic turn of things

The pale star is now the quantum sun of eventuality

Michelangelo's Night

Michelangelo’s Night

Within the diameter red-shift dilation points the arrow into the hole

The pool table is full of possibilities – phase-link up the past with the present

Momentary wings eternize point-like gravity waves of the ancient ape

Particle size dimension is crystallized in the memory of the hyperspace

Self-reflecting a point like an idea criss-crossing on a plane

The painter subjects the external word to find the inner-symmetry of randomness in nature through the cosmic lens

So the light is often the lunar synthesis of  Michelangelo’s Night – anti-gravity of matter

Mirra Alfassa/Divine Mother, Monalisa 2013

Mirra Alfassa/Divine Mother, Monalisa 2013

Lifts itself from the grassy banks of the ever flowing Tiber

Like a song without a trace, or a note without an echo it disappeared from the scenic moment of the frieze

Far away into nexorom vita space-time tunnel of the new creation

Perhaps word-sounds are travelling too like Rousseau, Fellini and Heisenberg

Without a jerk through Alxovin gate faster than the rays of the sun.

– Joy Roy Choudhury

Yogishwar Sri Kali Pada Guha Roy and the Language of Love: The Cross-Beam Evolution and Sri Aurobindian Light from ‘Savitri’

Yogishwar Sri Kali Pada Guha Roy Revelation : “My Language is that of Love”. 

Yogishwar Kali Pada Guha Roy on a Christmas Day in Kolkata, 1912 (sitting on a chair)

Yogishwar Kali Pada Guha Roy (sitting on a chair)

Consciousness-Analogue

The sweetest rose offers itself to the Lord

The yellow feathers of the song bird ripens the mango

Densely in the woods the nectar of the para-brahman unveils the logical sublimation of things

Material universe is the concurrent virtue of the supramental creation

He walks on the waters towards the sea where the navel superimposes the origin

He is the light in the divine rasa, the unfathomable source of love and peace

He is the mystery beyond mystery, the quantum article of non-relational faith

He is the vagabond zarticle in the ancient particle of the tetra-fluid destiny

Ether conquers ethereal space words are empty vessels on the pyramid of sands

The sun is the worshipped Lord of the Brihadaranyaka

From it thou art came as light manifested in the scriptural synthesis of matter

Matter is the Zatter in the relational coordinates of the absolute Yime

Sacred fire in the ocean of eternity consumed the offerings of the mighty force

He was alone in the Curzon Park looking at time from the distant multiples of life’s evolution

His smoking frills touched the corners of the banquet sky

Sri Aurobindo: 'The Golden Child began to think and see'/Savitri

Sri Aurobindo: ‘The Golden Child began to think and see’/Savitri

The Ganges was lit with a thousand stars above the horizon

On the diverse steps of Varanasi, afternoon waited for the evening to slumber

Involuting the boats on the heart of the river like a sage of wisdom

Many years have passed, the old not familiar but rare and strange, still lives

It waits at railway stations for an adventure into the consciousness

Looking into the future from the past cubicle the present starts slowly moving

And it was that promise of an unbroken rhythm that kept us all alive.

– Joy Roy Choudhury