mandalaofsoul

metaphysical universe. When we make art, we recapitulate this unfolding process and when we reflecton what we have drawn, we recapitulate the enfolding dynamic.Physicist David Bohm says that reality is a moving wholeness of energy, holomovement as hecalls it, in which the physical universe unfolds from a deeper order of reality. The physical world, as weknow it, is contained in an implicately ordered reality, which is then contained in a deeper reality.Doczi’s geometric observations agree with Bohm’s quantum observations.This ... is not to be understood solely in terms of a regular arrangement of objects … or as aregular arrangement of events. Rather, a total order is contained, in some implicit sense, in eachregion of space and time. Now, the word ‘implicit’ is based on the verb ‘to implicate.’ This means‘to fold inward’ (as multiplication means ‘folding many times’). So we may be led to explore thenotion that in some sense each region contains a total structure ‘enfolded’ within it. (Bohm, 149)As we perceive a physical object, we can consider that a deeper function of our perception iscollaborating with the quantum process of the geometry of limits. Limits, in this case, include symbolsthat communicate the parameters of that embedded formulae into the universal matrix that is thetemplate governing the exact shape of the unfolding and enfolding form. It is from this dynamic actionthat we understand the quantum assertion that “no cause is local.” That is, the local event, or thing,appears to us because of the unfolding action of a deeper, contextual pattern in the morphogeneticfield. In this sense, our body implicates our being, and our being unfolds our body. The geometry we seein the physical world is consistent with the geometry of the causal reality from whence they came. Thecausal relationship is between the implicate and the explicate order. As the flower unfolds, it is theassertion of a deeper order of reality. As the drawing unfolds, it is an assertion of a deeper order ofreality.In Husserlian phenomenology, the deconstruction of the form reveals to us the deeper order ofessence that intended that form. Edmund Husserl, the father of phenomenology, called this relationshipbetween form (noema) and essence (noesis) the structure of reality. In the terms of the ancients: thephysical implicates the metaphysical. In Bohm’s model, noesis is the implicate (non-local) order andnoema is the explicate (local) order. Local is the form that is present dimensionally, now, in a givenphysical location. In terms of making art, the noema is the image on the paper. Then, we might ask,“Where did the paper come from in order to be the surface for the drawing?” We know that it likelycame from a tree. How did the tree arise? Perhaps it came from the intention that someday we wouldneed a paper to draw upon. Then, we consider that there is a deeper force moving both nature and usto come together one day in the drawing event. Permutations of the form may be physically “caused;”however, its existence is transcendentally “caused.” In sequential drawing, we see permutations of asingle causal intent. We have still pictures – a time-lapse imaging – of a single actualization. Bohmcontinues:‘All implicates all,’ even to the extent that ‘we ourselves’ are implicated together with ‘All thatwe see and think about.’ So we are present everywhere and at all times, though only implicately(that is, implicitly). It is only in certain special orders of description that such objects appear as22