"Orientation - the cognitive part"

 

Depicted here are parts of our "actuality" - our existence in fact as projection.

 

Our reality is made of various aspects placed in certain places in space. It is projected by our whole being, through his or her CNS (Central Nervous System).

 

In stepping back into one's own actuality, we can appreciate our actuality. We can also refer to our whole in our actuality for a process of integration, of our self and part with our whole self.

 

There is nothing solid in our reality of conscious expereince, because we are projection. There's no whole in our reality, because our's is a part. The reality we experience, we are in and we are conscious of, is a projected part of our whole self.

 

Thus, we float in space as projection, as indeed the CNS floats in plasma-like fluid (the cerebro-spinal). Our reality of self and experience, sense of others and our worlds outside and within, the witness and the conscious, our subconscious and our unconscious, all that we may be and experience, and all the realms that we may be in and have experiences in -  they are all projected parts, of the whole being.

 

Our whole is alive in absolute Reality and is of Reality. Our whole being encompasses parts that are both solid matter body (including the CNS) and projected, and is more than their sum. We come from being a projected and so displaced part, that is further isolated from its whole, in being identified in its self and with what is experienced. Approach your actuality, and come to be in relation with your whole, by regarding your whole as a projected part.

Here it begins, where we end up. We gawk'n talk in our "cognitive part". 

 

"Orientation - the cognitive part"    
a text-ed tour           

 

1 “Cornered across (with vision)”
So, with the depictions. It is as sensed from behind.

The whole being is indicated in the silhouetted head , neck and shoulders.
Centred right.
is our line-up and facing the vision of the world out front.

The identity comes across to vision.from inside to the left (shaded scoop).

The witness is back behind the cornering.

The conscious reigns from above, like coconut palm fronds, as if to shed light on our reality. Because we are mainly our self (shaded scoop) and what we see (circles), the conscious itself is more in an absent zone above.

These lines, around the lower part of the cornering, indicate our front and back, before the witness behind – a depth, and spread inside (to the left), middle and out, front and back of our centred right spread.

2 “Knobbly join”
Silhouetted again is the head, neck and shoulders, indicating the subtle sense of the whole self who is in and of reality and does not exist in projection, but gives us our sense of being on his or her right side - a reference from out side our reality that is our whole.

 

Vision is here with the circles.

 

The wot and the wit stands for the world out there (up, front and to the right) and the world in there (down, behind and snug towards our "cosy" core).

The self having an experience of the wot and wit is between the two crescent scoops. The self is understood to be inseparable from experience itself – “what is experience without self, what is self without experience?”. Experience it self is distinct and separate, differentiated and displaced from what is experienced, placed outside or within, within our reality that is a part of our whole.

 

This (face) is the identity, determined more by our world and society.

Conscious again, not like coconut palm fronds as it reigns from above, but more its body, with the "curl and curve".

The world out there has an angle, forwards, up and across to the right vs. our inner reality that extends back, under and "nuzzles" towards the core (mid-line) of the body. You can appreciate these, the wot and the wit, quite readily in your own situation, in your projected "actuality", in you as identity in the knobbly join between the wit and the wot.

3 “Bass clef (of sound)”
There are more recognisable shapes here. The bass clef and the top of the treble clef.

Now again, it is our actuality, a depiction of what is actually there on us. So, the world of sound, this is there on you, and I’ll just take you through it.

 

The world of sound “comes under and around on your right, goes over the top and comes in on the left above, but not below”.

 

So there’s this shape to the projected actuality of our world of sound. It happens to be the symbol used in music notation to indicate the bass rage of notes, the rumbling deep notes that makes us look up and around to try to determine what it is. It might be a dinosaur, a tank or a jet liner (threatening deep noise), and contrast the treble notes that can settle us into our cosy core. Our sensitivities there are rumbled by the deep bass notes, and we rise to hold our self up in our hard heads, to determine friend or foe.

We can depict and describe the shape, but it’s the “where” of it, the being of it there. Also I suspect that the symbols of music originate in our actuality.

It does not explain the symbols, but the wide acceptance of it may be because of our actuality being of that shape.

4 “Arch of language”
The only one I have used colour in, Japanese vermilion red. Used in calligraphy in contrast to the black sumi-e ink for corrections, notes, marking or standing out. It is also the red seen in Shinto shrines,  their torii gateways are painted with it.

I think I have used red because language is such a human quality that marks our cognitive "gawk and talk" reality. It comes to our right shoulder because we are upright through our head neck and shoulders as humans (other animals do not).

I consider the conscious, mind and the sense of self in the world,
 common to all animals. Like humans, they, whole living "animal" beings, function in the real world through their self functioning in "its" projected experience of reality. 

Compared to our realm of sound, in its bass clef shape, this is a narrower, tighter realm of language, which is also sound but special sound. It dips under the conscious, domes over mind and lands on the right shoulder.

 

There are our depths under it. So, cognitive, emotive and somatic (of body) sense are marked in their three letter abbreviations. The finer lines under them indicate our deeper instinctive and intuitive sense of others and the world. Our "cosy" core is towards the mid-line of the whole self.

Our consciousness extends down towards subconscious depths, but on the “other side”, the subconscious begins right next to us.

The point to the “Arch of language” is it "carries" on it, Infinitism, Circularity and Foundationalism.

 

Infinitism means it goes on and on for ever, and with Circularity and Foundationalism, they are the nature of our conscious mind, recognised in philosophy in those terms . To be certain about something we think about or sense, we can try to find a proof that, inorder to support or help, must come from outside of and independent of what you are trying to prove. But then that proof needs a further proof from outside of it, to support it ... and so, goes on for ever, Infinitism, just as the conscious goes on and on (till off?).

 

And it is easy to go around in circles in our mind, Circularity, which is formerly described as when the thing you want to prove is in a subsequent proof, so that the train of logic forms a circle. And Foundationalism is the assumption that is not questioned or challenged, a fundamental belief.

These qualities of the cognitive mind are coined in philosophy as the “Munchausen’s trilemma”, the unsatisfactory nature of certainty in our mind.

Just as music symbols take the shape of our actuality, the three aspects of our cognition have their place on the actuality of our “arch of language”. It dips under the conscious, on and on Infinitism, circles over the mind's reach, Circularity, and lands on the emotive level on the right shoulder, for Foundationalism.