The Fifth Jhāna (ākāsānañcāyatana):
"And at this point it is said: With the complete surmounting of perceptions of matter, with the disappearance of perceptions of resistance, with non-attention to perceptions of variety, [aware of] ‘unbounded space,’ he enters upon and dwells in the base consisting of boundless [infinite] space."
The fifth Jhana was described in this way by Buddhist scriptures by meditators much later than the Buddha.
So, while I take objection with the exact quote above, the core idea is the same. You will see what I mean.
Anyway, in my theory, the Fifth Jhāna involves:
- Opening the doors between alternate spaces (tank!s).
- Dividing pressures and focus between momentary spaces practiced from the previous Jhana, are used to stack onto each other sort of like Lego blocks in space (with a main space as a reference).
- This allows the meditator to stack spaces to make a large composite space that simulates potentially infinite space (expanding x y and z directions). For example, your current space may allow you to sense a few miles in one direction before your senses end. But focus that goes through a portal or door to another space before hitting that limit, avoids that sensory limit. Consciousness could potentially keep going through one space after another, before any limit was reached. Infinite or boundless space. (Although you technically are likely using overlapping tank!s.)
- It also allows a stacking of multiple alternate spaces upon or in the same x y and z coordinates. So multiple variations of the same object (or configuration of Qs) (as anchor) can exist in the same or similar x y and z coordinates. As in the quote above, you can have perceptions of variety (of object in the same or nearby 3D location) using this method. Where LWC differs from Buddhism is that in LWC Theory you are allowed to pay attention to variations or variety of that anchor or Q-config.
- It is like the difference between 2nd and 3rd Jhana, but for spaces (or tank!s). If you have one end of a path in one moment and another end of a path in a different moment, then you are making a path-line that connects the two moments. You can string various moments together this way. If you stack the moments in space, rather than in time, then you can extend your focus out - through these open doors indefinitely, giving you virtually infinite space.
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Practice in Fourth Jhana. Allowing consciousness / focus to move between any moments.
5th Jhana ≈ 3rd Jhana + 4th Jhana:
Beginning to make split paths so that you can do two lines of "the Fourth Jhana" in space. Or experience two different moments simultaneously in 2 different 3D locations. Try slowly oscillating back and forth between your physical moment-space and a remembered virtual space that is remembered as being nearby in location: perhaps a memory of standing in the next room over, or a few feet away, if outside. Gradually increase the rate of alternating between two moment-spaces.
Attaching 4th Jhanic structures together to make a 5th Jhanic structure.
Focus may have to oscillate between virtual bodies (shown in parentheses) at virtual locations and also physical body.
Focus may have to oscillate or alternate at a specific rate (and phase) between moment-spaces (and between 4D experiences) to begin to feel as if there is only one body, but more than one stacked moment-space. This can increase the range of senses, increasing the distance available to the one body (above in the image, the physical body is the main body in the example).
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Stacking spaces on top of each other. Sending focus out further in virtual 3D space.
It sort of feels like oscillating so fast between possible spaces or environments for your body, that you get to choose which one to perceive. So when you alternate between the physical and the oneiric or virtual space, you can sort of hop to the next virtual space each oscillation. Really, when you oscillate between two or more 4D series of moments then you can involve the 4D of distance and propriovision to increase your range of virtual space.
Using many stacked spaces simultaneously to make a large composite space for your focus to expand outwards in virtual 3D space into, away from physical body.
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4th Jhanic line of the ordinary timeline + 4th Jhanic line of stacked alternate spaces.
Overlapping 4D structures for one 5D structure.
Then: the line of stacked alternate spaces can be moved relative to the main space. (Physical body's tank!). (Or you could try curling your physical timeline (haha) to curve into the alternate 4th Jhanic stacked line.)
The two pasts moments can also overlap (as in the image above: alternate space A overlapping with previous moment of main timeline).
Practice from the 4th Jhana allows you to overlap the past alternate spaces with your main memory. A "memory of thought" can be accessed:
This allows 4th Jhanic access to virtual pasts; wherever your focus went in virtual 3D as memory.
In LWC Theory, the Fifth Jhana corresponds to 5D.
You can think of this type of 5th Jhana as multiple moments happening at the same time, but in different 3D locations, or propriovision as a temporal experience (because of its stacked moment-spaces) but with virtual moment-spaces included, in the propriovisual stacking.
In propriovisuality / propriovision, you are assuming potential proprioception and so a potential virtual body (or at least parts of potential virtual body) at various depths, at various 2D cross sections of the 3D (proprio-)vision. This means each 2D cross-section of depth is like an increment of distance, with (potential) proprioception dividing or filling them. Each of these becomes its own potential moment-space, which can be replaced with memories or imaginations of distant locales.
If propriovision is like a deck of cards, a stack of 2D cross-sections, then the 5th Jhana is like putting whatever other cards you want into the deck instead of having the standard cards and card order. It also affects visuo-propriosity as well, which is like the reverse of propriovisuality, which allows the stacking of proprioceptional moment-spaces with visual moment-spaces. This allows you to feel virtually infinite space behind you and below you and in other directions that are out of line of sight. Propriovisual cones (PV) and Visuoproprio cones (VP) will be discussed later as 6D/7D in the chapters on 6th and 7th Jhana.
Since there are multiple paths focus/consciousness can take between these moments/spaces,
overlapping 4D line-paths make
a 5D structure.
You don't always have to spread the moment-spaces out in propriovisual 3D space though. What if you put multiple 3D/4D objects into the same 3D location?
Each propriovisual moment-space is a potential 3D cross-section in your main vision.
All the potential 3D cross-sections are in your main physical moment-space.
The 3D potential proprioceptions can stack inside a single visual moment.
See the image above.
But instead of propriovision like the image shown above...
What if you had propriovision more like this. Woah!
It's cluttered, but a simplified version is coming later in this chapter.
So don't worry!
In the image above: each 3D cross-section is given its own 4D serial line of moment-spaces (colored to show each 4D row separately) at an angle to the main flow of time. Each of these experiences are stacked sideways to the main flow of time that goes into the page. The greenish one is the closest perpendicular 4D row. The reddish-orange one is the middle perpendicular 4D row. and the blue row is situated beyond that.
Let's move on from the infinite space (and alternate space through portals) part of the 5th Jhana, to the next part of 5th Jhana:
the variety.
It would help to first learn about LWC Theory's gestalt theory.
There are three main types of gestalts:
Positive gestalt, negative gestalt, and encompassing gestalt.
The positive gestalt is the main region of focal attention. The negative gestalt is like the border of the positive gestalt. The negative gestalt helps to set the boundary conditions for the positive gestalt. The encompassing gestalt extends from the negative gestalt, all the way to the periphery or edges of senses. Qs are like the contents of a gestalt. Gestalts can be moved or changed in size. Gestalts can hold their position while various Qs move within them. Qs can enter into or exit from a gestalt.
So why have the negative gestalt? Why not just have positive gestalt and encompassing gestalt?
Because you can do stuff like this.
(The positive gestalt from the above 2 images are the same, but the negative gestalt changed its size.)
Or this.
(The positive gestalt has split into 2 positive gestalts that share the same negative gestalt.)
Or this. (Two separate positive gestalts with their own negative gestalts each.)
Or this.
(The positive gestalt stays in one encompassing gestalt, but the negative gestalt spans 2 encompassing gestalts.) There are many possibilities.
That last image above is a segue to the next layer. 3D gestalts.
All the gestalts shown in the above images were 2D.
The last one was partially 2D and partially 3D - like 2D/3D.
A 3D shape is made up of a depth of multiple 2D cross sections or stacked flat plates.
So let's look at a 3D gestalt example:
A positive gestalt that spans a 3D space. NOTICE that the 3D negative gestalt makes a 3D shell around (the positive gestalt) that may span/touch more 2D encompassing gestalts or cross-sections than the 3D positive gestalt does. In this sense, the 3D negative gestalt can have more range by touching more 2D cross-sections than its positive interior gestalt.
Check out the chapter on propriovision (here) if you don't yet see the connection between this and propriovisuality.
Understand 3D gestalts? Pretty simple, right?
Ok then let's look at 4D gestalts.
A 4D positive gestalt in next potential future moments.
Example: the region selected when you want to move a body part a very short distance.
Other Example: eye tracking an object, following the trajectory of a moving or falling object and expecting movement to a new position (or the same position over time if it's keeping still).
Example: the 4th Jhanic exercise of visualizing/feeling trails of previous moments' body states.
Other example: visual trails of objects.
Positive Gestalt in a memory (and on the Qs thereof) but with a path back to the current moment by negative gestalt.
Not too difficult to understand either. Now let's try 5D gestalts.
So how would a 5D gestalt even work? Remember that 2 overlapping 4D lines or 4th Jhanic structures makes a 5D structure, a 5th Jhanic structure or "5th Jhanic Mass" (5th JM).
Did you realize that you probably make 5D structures like this (5th JMs) often without even trying?
You likely overlap one experience (a 4D moment-linepath) with another experience (another 4D line of moments) very often. Let's dive into it to see how this works -
Let's say you have some experience (a series of moment-spaces).
You have a 3D gestalt overlayed onto the object you experience.
(There are probably 4D gestalts useable too, but here I'm only showing 3D gestalts because it's easier to begin to visualize.)
Let's say you have another experience of the same concept sometime later (while wearing a hat and standing near a duck). Your 3D (& likely 4D) positive gestalt is on it again!
The positive gestalt is at similar Qs as the previous version or instance of the same concept (marked by blue in the positive gestalts above).
Now you can overlap the 4D positive gestalts to make a special positive gestalt:
Woah! A little bit confusing visually, but I hope you can get this general idea: the blue from the experience with the hat and the blue from the experience without the hat, are overlapping.
(The trick here is that you don't normally overlap every thing from each moment - just the special positive overlap of the 2 positive gestalts, shown in blue above.)
I call the gestalt special because the new instance of the concept has to be perceived as noticeable or special enough to remind you of another instance of the same concept. So that the two (or more) instances can overlap, as in the example above.
For example:
If the Qs of both instances in both experiences are exactly the same, but if you don't notice that it is a special instance (overlappable), you may not even move your focus across 5D - you may keep your focus in 4D and not send it across the special positive gestalt; like a bridge to the previous or alternate versions of that concept, and you might not overlap gestalts then.
You can intentionally refrain from making a gestalt to be special. For technical reasons, if you wanted to.
Because they were perceived to be about the same concept! Just similar 2 versions or instances of the same thing perceived at different times. Here is a slightly less cluttered version of the image above. And probably closer to what you might experience (perhaps minus the hat and the duck):
Since the perspective would be from the most current experience, the prior experience is faded and somewhat invisible to current perception. But the positive gestalt still overlaps, becoming a special positive gestalt. In the example, the positive gestalt is realized to be special, and perceived to link the two instances. And remember, in this example, 3D gestalts are used, but realistically, that would be only a passing moment, so you should probably learn to use 4D gestalts, which operate across multiple moment-spaces.
Both 4D experiences may actually be 5D because spacetime is curved - remember?
Their rates of curving or curl, may not even line up or intersect except exactly at the special positive gestalt. Although you may use the special gestalt as a doorway - like a portal, straight to the previous experience of the same concept. You can pass from one experience to another this way.
If you want, you can also revisit the Cycle of Consciousness from LWC Book 1 to see the how this fits the collection of multiple Experiences together into Conditions, with these new ideas in mind.
You can overlap as many experiences as you want! As long as it makes one special positive gestalt:
You can have numerous experiences of the same concept at different times, all linking in memory by the special positive gestalt. That special gestalt becomes a sort of way to turn in 5D.
But as you might have already thought: some experiences don't have exactly the same instances. Some instances have slightly different Qs. Even twins and clones can have slight differences between them. And some instances of a concept may be seen from (slightly) different angles.
That's where variations / variety comes in.
A special gestalt may be a gestaltic overlapping, but slight differences between various instances means that they don't overlap perfectly.
This means that a 5th Jhanic Mass may look different than any one 4th Jhanic Mass or 4D gestalt. To adapt for this, you can model this as a "Signhedral" or a "Moodhedral".
You don't always have to use different experiences to make a 5D structure or 5th Jhanic Mass.
You can make entirely new 5D structures within the same experience:
Use the previous techniques of the 5th Jhana to stack spaces, but stack them all at the same special positive gestalt, the same 3D location. It's like stacking the overlap of multiple 4D gestalts or structures, into one 3D location in space. But can you make a new special positive gestalt without needing Qs initially as contents? Yes (sort of).
Use all your Jhanic knowledge and practice up until this point, to begin to design your very own original special positive gestalt.
The 2nd Jhanic Mass can become a 3rd Jhanic Mass, and the bonds between Qs and pressures allow for mapping into 3D space.
The 3rd Jhanic Mass can be assumed to have its own (intersecting) 4D timeline. In this process, the 3rd JM can be first given a possible alternate past, which retroactively converges or converged with the present experience/moment.
The 3rd Jhanic Mass was assumed to be the result of (two
or three) connected 4th JMs. One 4th JM is the alternate past's 3rd JM + the current 3rd JM. The second is the 4th JM of current experience. The third 4th JM is the anticipated 3rd JM + the current experience's 3rd JM.
The 3rd Jhanic Mass can be extended out into perception by being in or intersecting with the current timeline/experience more / for longer time. It is then in enough moments to be perceived as a 4th JM in the current experience.
The 5th Jhanic Mass becomes intersectable with the current experience as a full curl, that it can include the other potential instances as other 5D curls in a cone shape.
The 4th Jhanic Mass intersecting with the timeline (or experience) that you are in.
Instead of rotations in 3D (to move by roll, pitch, or yaw) and instead of rotations in 4D (to swivel relative to its own timeline/experience, or yours), you can rotate the object by varying curl, or curl rate. This allows you to switch between the different 4D experiences in which the object was or could be. If stacked into a region of space, like the image above, you could imagine the various curls as different 4D experiences all near each other in your relative 3D space, with the most intense or mood-changing experience/instance at the center of the 5th JM.
In the above model, the curls intersect to allow intersection of variations in current 4D experience, with variations from other experiences.
There are 4 kinds of 5th JMs that I have come up with so far.
Signhedral (SH), Inverted Signhedral (ISH), Moodhedral (MH), and Inverted Moodhedral (IMH).
In the above model of a 5th Jhanic Mass, the special positive gestalts are modeled as separated in 3D but bound within the 5D borders. They are still overlapping in 5D. When perceived, you don't have to separate the special positive gestalts in 3D space like this. This one is a Signhedral. The Qs are qualic signs that signal what caused mood to change. It shows slight variations or instances of a concept (with Qs). A change in mood accompanies each one (the greyish curving bar). The greater changes to mood are near the center, which is a 5th Jhanic center of mass, or centroid, where focus is most attracted to, although focus may encounter the edge of the Signhedral and be attracted inwards like gravity, without actually reaching the center. Attention may encounter any variation, and then run through variations to get to the most mood-changing center of Jhanic Mass, or at least be attracted to it, and have its 5D trajectory affected.
The 5D boundary of the 5th JM (in this case, a Signhedral) has a flat mood around it, or the baseline mood, like the basic flatter level of water surrounding a wave.
If you understand SHs, then an Inverted Signhedral (ISH) is pretty simple. The change in mood lowers towards the centroid(s) or center(s) of 5th Jhanic Mass.
When perceived relative to current 3D space, an ISH would mostly be lower than baseline mood. Like the "valley" made in in water, right after throwing something in the water. But with (potential) mood (change) instead of water.
If a Signhedral (SH) can be modeled like this, with the main attraction of moodal change in a center-of-mass (or centroid)...
A Moodhedral (MH) is a 5th Jhanic Mass, that has the same (or negligibly variable) moodal changes across it. It has the original (special) positive gestalt as its center of 5D mass. The gradual differences in variations, radiate from its center, unto the 5D boundary, where the variations are counted as sufficiently different from the original.
And an Inverted Moodhedral (IMH) is just the same as the Moodhedral except with the same lowered mood across it. Although a different and alternate definition of an IMH is: the original (special) positive gestalt is all along the outer 5D border, and the variations become gradually more different towards the center (or centroid(s)). Something like the image below.
Think of 5th Jhanic Masses like these as a region of space in which to work with or interact with variations from many worlds of a potential multiverse - or just the variations of the same concept in the past and potential of this world.
Because of a 5th JM's 5D properties, it can have different "positions".
There are four different "places" to put a 5th JM. These places characterize a 5th JM as: "very inner", "inner", "outer", or "very outer". And a 5th Jhanic Mass can transition between these places.
Here is a 5th JM in a moment.
(Or in a momentary distribution of matter and energy in space.)
Since a 5th JM is related to 5D, it can span multiple 3D moments like 3D cross-sections.
(Or even multiple 4D experiences or structures.)
Imagine that the person would only see sections of the 5th JM as their consciousness went into the next moments. So they see the left side of the 5th JM in the first (leftmost) moment. Then in the next moment, they see the middle of the 5th JM. Then they see the right most section of the 5th JM in the third (rightmost) moment.
An observer may perceive or have access to only some of it at any one moment. It is not as much completely in the current experience as fully as the other above image - because only some of the 5th JM is perceived as inside the current moment, at any moment.
The images above are examples of the special positive gestalt being perceived at varying angles, 5D amounts, and variation offsets from a 5D center of mass.
Also - every (4D/5D) overlapped experience that is involved in the 5th JM, also has negative and encompassing gestalts.
Negative gestalts and encompassing gestalts of each of those experiences can also be special: they can overlap with gestalts in the current experience. If only a special negative gestalt is involved, with no special positive, the 5th JM might be considered and called more "outer" than even the 5th JM in the above image. Imagine it like sensing only the negative gestalt(s) of a 5D structure or 5th Jhanic Mass.
Why do I think that 5D has anything to do with mood?
Distributions can be divided by
- time (2 or more moments in series)
- by distance or space (propriovisuality, and multiple distributions as spaces that are able to be stacked, if each one has its own limitations of sensory distance) (Think of each space as a tank! or a box of perspective.)
- by energy (which can rely on both time and on charge/discharge over some distance) (Or "energy angle".). One perspective with one energy-level and another with a different energy-level, even if both are at the same location and in the same moment. (Think of two photons perpendicular to each other, and having different sizes of waves, but sharing a node in space and time.)
You change your focus and you shift your gestalts according to how discontent or content you are with its current status, placement, etc. so mood can actually affect how energy is discharged/charged, and over what distance, in what direction, for how long, and at what rhythms it discharges/charges. Mood directly steers focus over various energies and times and distances, so it is a great candidate for a 5D parameter, over the 4D parameters of time-energy-space/distance.
The next chapter will be more about 4D and 5D concepts.