During a meditation, I was gazing at the flame of a candle. I was trying to become able to recall the sight of fire at will. In Buddhism, this could be called visual "fire kasina practice".
I decided to think of the candle and flame as being brought into myself. I realized that this is related to propriovisuality.
It's like at the doctor's office, when a doctor tests eyesight by moving their finger or target object for the eyes of the patient to follow.
Except the object went past my eyes and nose and into myself. The candle went past and behind the front of my physical body's proprioception that way.
--You can now skip to the word "Anyway" in large font further down the page, if you want to skip or are bored by the technical stuff that follows.--
Normally, the visual field is a somewhat 2D visual field, like the screen that the candle flies through in the images above. Direct sensory experience, from external physical light, acts upon the eyes and retinas to make a preliminary 2D visual field before any 3D depth is estimated or measured in front of one's face - as light is very fast anyway.
The tree is shown on a white background for clarity of diagram. The tree is inside the focal area of the positive gestalt. Obviously, the rest of the colors from the physical world are also seen on the 2D visual field, but the blue sky and green grass is omitted from this image's 2D visual field for clarity in later images.
Each 2D visual field collected into Short-Term Memory (STM), is a 2D cross-section of the whole environment relative to the self's position and facing: the tank!. Those are not 2D cross-sections of the individual objects seen on the visual field, they are 2D cross-sections of the whole visual field, and don't contribute very much at all to the 3D depth of any individual object or even frontward empty space seen on the visual field. Especially, if the object and the viewer do not move or change position much. So propriovisuality is needed to "grow" the object from the 2D visual field, or the collection of 2D visual fields accumulated over time. In other words, the 2D cross-sections contributing to 3D growth of an object or space, must be specific to a smaller (gestaltic) area of the entire visual field.
3D depth is assumed/estimated behind the 2D visual field at the positive gestalt. It grows from a 2D positive gestalt into a 3D positive gestalt, shown by the dashed lines on the top and bottom of the tree, going away from the eyes but not necessarily are a part of the 2D visual field. A 3rd JM is made because the depth is not known but imagined, or felt as subtle mental pressure, behind the physically seen 2D positive gestalt. Even if 2D cross-sections of recent visual fields in the STM are also considered, those 2D cross-sections would only provide more whole environmental 2D data, showing that time is passing for the whole environment as a whole, and not add 3D depth to specific smaller areas of the whole entire visual field. Even if an object in the visual field, like the tree, was rotated or moved in view, the 3D depth would still have to be imagined behind the 2D visual field at every frame or every new current 2D visual field as a cross-section, essentially making a new 3rd JM for each new angle or location of the object. In terms of estimation of 3D depth, a new depth is imagined as imaginary or Jhanic Mass, that is added onto and behind what is seen, and what is seen continues to refresh quickly into constantly new 2D visual fields. Another process in addition to the former process of 3D growth from 2D visual fields: a "non-local" estimation can increase or reduce 3D depth, coming from 4D-5D pressure of depth that is anticipated or expected. This mental pressure can come from distinct previous experiences of that same concept, even if not necessarily that same object.
The tree's estimated 3D depth can also be "pressured" by previous experiences of trees. You can reread about 5th Jhanic Masses, which are 5D objects, made from overlapping 4D experiences, as shown above. So the tree shown above is now a 5th Jhanic Mass, because now focus/consciousness/coe can flow into the instances of the other tree from the memory. The instances of the tree from the other 4D row at the other (4D-)5D angle, are accessible for pressure/focus to move to those instances, but also for pressure to move from them to the current tree seen physically, to influence the 3rd JM as 3D depth of it estimated. If the 4D row of the memory only rotated at a 4D angle, then the present and past forms of the concept (of a tree) might not intersect or connect at the present, but the past 4D row would only rotate in 4D in the past and relative to that former space and former time and former energy - not relative to the present space of the current tree nor the present time nor present energy thereof.
You can think of it also like this: if you rotated some present object in 4D in the present, it might not necessarily affect any 4D row of an object of the past, especially not of conceptually similar 4D objects, unless there is a "5D bridge" or a way to fold similar experientially distinct instances together.
Now, you can think of these two ways to make 3D, as 3rd Jhanic Mass coming from "both sides" of the 3D sense modification process: one "side" of this process is the 2D side. This is the side mentioned before, where 3D can "grow" from 2D. 3D can "grow" from one or more visual fields as 2D cross-sections. The other "side" of this 3D sense modification process (to sense 3D depth of space or an object as a 3rd Jhanic Mass) is the 4D side (like the example shown in the image above). Memories can contribute to the "mental pressure" to decide how much 3D depth should be given to an object.
If you see a banana physically: based off of memories, your assumptions of depths of most bananas can contribute to how much 3D depth you give to the current banana, how much you would estimate for the current physical banana you see on the 2D visual field. This happens even if you don't rotate or touch the banana physically to check the real depth.
Real physical light that shines into the eyes, making the shape of a banana, could actually be a banana in virtual reality, and you might then give it perceived 3D depth anyway. Whether virtual or real, you may assign an object 3D depth. In terms of perception, the real 3D depth of that banana is only one possible option, one of many possible 3D depths it could have. There are other imagined 3D depths of the same object, such as a banana. This is possible, and pressure from higher Jhanic Masses makes other 3rd Jhanic Masses (3rd JMs) possible.
Even a human or animal skin is a 2D wrapper around the 3D body. It technically is a 2D sensing tool, curving over the body, that is only processed into 3D later, as the each individual neuron's input from the skin is integrated together as a whole. Think of how an animal can be skinned and have its skin or leather lay flat. Its skin can be unfolded into a flat 2D-ish surface area, a surface area that is given 3D curves only during the processing and integration of sensory input. So even some ways of feeling external objects with the sense of touch is technically 2D at first, and made 3D in later processing.
In the example of the tree, in the image of the tree above, the tree is a small 5th JM. It has 2 branching 4D rows at some 5D hinge or bridge point. However, perception is more complicated, because the 5th JM that is used in perception of depth is actually made by 2 other 5 JMs. The body/perceiver/viewer themselves is a 5th JM. The external object, a tree in the example above, is also a 5th JM. These 2 5th JMs each are considered to have their own positions in space. Therefore, an object (like the tree) is technically a combination of the two 5th JMs into one combined 5th JM, although technically the combination is a 7th JM (called an RGS), you can think of it as a single 5th JM, because the object (like the tree in the example) is usually considered to be the focus only, and it is not usually thought of as the combination of the object + the perceiver + the space between them + the desire of the perceiver to see the object.
(Which is very much 7D, which accounts for off-balancing coe so that coe can move from one thing to another in a desirous way, necessarily needing a start and an end point: the two co-dependently rolling 5th JMs, one 5th JM being the stronger force that causes the off-balancing and biasing effect.)
The object and perceiver as 2 distinct 5th JMs.
You can imagine both variations of the tree and imagine variations of the self/body who is looking at the tree.
One reason is that the passage of time changes the center or "centroid" of the 5th JM from which the variations spring, and also changes the 5th JMs of the environment around it.
In the image above, their "rolling" 6D trajectory could be imagined as a conical shape.
Above, I wrote "one reason", because in 6D, a conicity can include other directions than only the regular timeline's future or past, as if the cones themselves are able to point in other 6D directions than only along the 4D row, or even in other directions than only along a single 5D curl. Variations of a concept don't have to exist only in the ordinary timeline nor only in current tank! perceived, meaning they may be instantiated elsewhere or not instantiated but existing as potential and even as pre-existent pressure or anticipatory pressure that can lead to instantiation/manifestation or remain unmanifested but influence movements of focus/coe.
Each cone (also called a "conicity") could be thought of as a 6th JM. Each conicity can be thought of as a 6D object made of overlapping 5D objects. In the image above, the main 5th JM (one of a tree and one of the self/viewer/body of self) overlaps with other potential 5th JMs in the cone. If we put the cones together, overlapping the 2 conicities above, what would happen? Then the new 5th JM would have variations of both the viewer and the object/tree. The viewer and tree both become "centroid" of this new 5th JM (called an "RGS") made from the overlap of cones. Any variation from the centroid of the RGS includes variations of both the perceiver and the object perceived together. An RGS (Roll of Gestaltic Shift) is technically a 7th JM, being the overlap of two 6D cones or conicities, but you can think of it as a 5th JM.
One reason for this way of thinking, is that technically the tree shape is a variation of the self because it is a variation of how the self's visual field can "light up". So it can be in the 5th JM. But thinking of the self as a separate 5D and even 6D object allows the self to "detach from the tree" as one variation.
The "tree encountered by the self/body", is technically also a variation of the tree. This way of thinking helps thinking of the self as a detachable piece of that JM.
In addition, this way of thinking is useful when considering objects that are not physically or even
oneirically/imaginitively in current view but still can be manifested from somewhere or can exert a kind of pressure into the present moment: for example, feeling an person's or object's presence after it has gone behind a wall and out of direct physical sensory perception, or has gone behind the self, or has gone out of view, or has been hidden in hand or a pocket or bag, etc.
I call this type of encounter between two
6D objects a "stream encounter".
The body uses units (such as the size of the body itself as a unit of distance) to measure distance between external objects and the body. The potential proprioception of the body "streams" out from the body -- you can think of it like an imaginary tape measure extending from the body, with the units on the tape usually being sizes related to the body and its parts as variations of itself as a 5D object with each extended unit's 4D row folded in 5D back to the physical self (and folded to the target object) -- and this propriovisuality streams likely in a conical way, because the visual component of the stream usually becomes smaller with distance. But the imagined proprioception of the self at the object does not "become smaller" usually in term of how much proprioceptional sensory data is processed -- like a grotesquely warped and modified imaginary body, at the end of a measuring tape, hugging and fitting snuggly around the object, lightly pushing off of the object to gain a sense of its estimated 3D depth to produce a 3rd JM of the object.
Notably, the object or person (or in this example, a tree) also has its own stream. (This is like the 3rd JM of the tree becoming "its own proprioception" that it can use for its own influence on the viewer's propriovisuality.) The two streams - that of the tree with that of the viewer - encounter one another. The variations of the tree include spatial variations, variations of the tree in various adjacent locations, which may include any 3rd JM or potential 3D mass of the tree that can stream unit-wise towards the observer. There are also adjacent temporal variations, which may be the subject of a later post about the animalian Ox direction. Streams don't only have to be between object and observer, but can also be between two distinct viewable external objects. Stream encounters can also between a viewable object and an unseen object (or its
pressure exerted, if not its Qualia), since 6D directionality is not limited to objects in 4D experience.
Anyway
- back to the candle, at the beginning of this post.
When it floated past and behind my visual field, it still seemed to be distinct from 3D space behind me. It seemed distinct from most of the 3D space in my physical body. Although, that space is an option for focus/coe to exit into from this storage area. It didn't use my physical body's proprioception to map the movements of coe, at least not majorly that I could notice.
The process seems to make the visual field stay in front of where the candle or object's proprioception starts. So the VP-PV growth (of the candle, for example) began behind the visual field. This growth could be added onto, and it could have other growths beside it in that storage area, and it could enlarge the sense of space of that navigable place. I'm guessing that that place is like a storage area -maybe for the "heart" -but I'm not sure yet.Usually, objects are thought of as starting their feelable mass, or their potential effects on proprioception, in front of the visual field. I was playing around with thinking an object or an empty space as beginning (or able to grow) its proprioception behind the visual field, even if that object or empty space is still seen on the visual field's screen. It's as if the space in which you could interact with your proprioception is or can go behind your visual field.
Usually, an object like this candle begins in the physical environment, shown by the candle in the darker square to the left. Light from the physical environment hits the retinas and becomes a 2D-ish flat-ish image on the visual field, shown by the candle in the light grey square to the right. There is a stream of potential proprioception that streams outwards from the physical body, shown by the green line from the grey square visual field towards the darker square. This green line symbolizes the measurement used to estimate the distance between the physical body and the candle, which is estimated in the example as about three body lengths symbolized by three blue body-symbols in a row. The red line symbolizes the estimated 3D depth of the candle itself, starting from its front face, which starts on the flat visual field, not yet having a sense of distance from the self but only the sense of 3D depth of the candle, as if the candle touched the eyeball and began its 3D depth from there. The red line from the candle in the darker square to the left, symbolizes the 3D estimated depth of the candle that is added to the green line's estimated 3D distance between the candle and the self. This leftmost red line probably is more like the combined 5th JM of the RGS mentioned earlier.
What I suspect is happening with this process of bringing the candle behind the visual field, is that the candle is assumed to have its 3rd JM (perceived 3D depth) growing starting at the eye as earlier indicated by the red line. But potential proprioception of the estimated distance between the physical body and the candle, is not used. Or the stream from the body starts from around the visual field and goes backwards. When the 3rd JM or perceived 3D depth of the candle is added, the addition happens behind the visual field, indicated by the red line going rightward from the grey square visual field. The physical environment is left alone.
Similar to the technique of bouncingthru an external object and pinching off some of the 3rd JM to become its own separate oneiric object that's manipulable away from the original (and basically forcing production of a separate variation, making a small 5th JM, using the original's 3rd JM) - this process is done by pinching off some of the 3rd JM of 3D depth of the candle that is in the "storage area" behind the visual field, and adding it to the physical body's potential proprioceptional distance that is also behind the visual field. This results in the rightmost candle in the image above. The red line attached to the rightmost candle symbolizes the 3rd JM or perceived 3D depth of the candle, that is added onto the top green line. Thereby, objects such as the candle can be moved around the "storage area" behind the visual field, without having to be attached to the visual field from which they "grew". This is similar to the more common process, shown a few images prior, where the candle's perceived 3D depth can be added to estimated depth into the environment, so that it doesn't have to be attached to the 2D visual field's "zero depth point" from which it "grew in depth" or 3D perceived mass giving it depth. The lower green line reaching from the black body symbol to the leftmost square of the physical environment and its candle, means that both green lines can be simultaneously used and even added together, so that distance from the "negative" perceived depth in the "storage area" can extend as perception starting from some place in the "storage area" and going through the visual field and then beyond it to some estimated 3D distance into the physical environment. This allows sensation of a 3D candle or object occupying some place in the "storage area" while simultaneously having the ability to see past that "stored" candle or object, and then through the visual field, and then into the 3D depth of the physical environment, all at once.
This "storage area" is this place where one or more spaces or objects can be behind the visual field/screen. And space can be between those objects and spaces, even if they were grown or loaded into the "storage area" at different times, or at different amounts or angles.
I then tried doing a Spiderman-esque technique. I shot thin loops of wire around this "storage area", to force my consciousness further backwards in that place/space, and shooting new loop-lines from the tips of other shot ones. This helped broaden the sense of space.
I could use memory of the wires as movement to travel among the wires, and to sense them broadly together (even if the loops were made and shot at different times, sort of like using "wreathing" technique but with much more persistent structures). The loops helped to get more area into available awareness, and could cut through resistances of movement of coe/focus like a net or piano wire. The feeling of space there is persisting even after meditation, which is useful because I can put amounts if coe and structures of consciousness in and then sense them, even while the tank! continues to change with physical processes. Much like a heads-up display or HUD. In this way, it has become more storage space for loading and unloading coe and structures made from coe, directly to and from tank!.
Starting PV-VP growth from the other side of the visual field is what makes this really interesting. It seems to make a 5D storage area. (I write 5D here because it seems to be an overlap of two distinct 4D rows: one of the 4D rows is of the external 3rd JM's 3D cross-sections (the 3D nature of it over time) of the candle on one side of the visual field, and the other 4D row is that of the 3D cross-sections of the 3rd JM on the other side of the visual field. The two 4D rows can be combined into what seems like one 4D row, but it seems to need a 5D fold for the intersection to happen. For example, the "pinched off" version of the candle in the storage area that is not attached to the visual field in 3D, may still be related to that original candle at the visual field, being a variation of it.) It seems to encompass potentially a large storage space of pseudo-3D space that can be entered and exited by 5D access. This also means it seems to be able to load and unload anywhere in the 3D space of tank! - wherever coe can grow by PV-VP process into or out from this storage area, from or to an object or empty space (usually designated gestaltically) in the 3D space of tank!.
So far, I can make some viewing light in this storage area, but it's mostly around where the wires are, or near 3D structures or 4D structures (experiences, events, acceleroception using coe changing with respect to 3D distances, etc.) that are kept there. The layout of the space is also inferred by the dark spaces between wires. The coe and structures in this storage area seem to persist much longer than ordinary bouncedthru oneiric structures and other oneiric objects. I recommend trying to access this storage space! And to expand the sense of space there, as well as load and unload structures using it. I am going to see what happens when making "pre-fab" 3D and 4D structures in there for overlay, poking-in, and other ways of interacting in tank!. Especially with Stagic activity and forcing other complexes to shift. Maybe even connecting (or "wreathing") cross-sections in this storage area with one or more in tank! so that coe can flow across from one to another space and/or structure.
Furthermore, I've recently been experimenting with using a perspective from within this storage area, to reach and navigate around the horizontal edge(s) of the visual field, and possibly the tank! itself.
Sort of like this above image, except the front face of this cube would be the visual field, so you wouldn't see the back of your own head, but the front face of the cube (the primary
tank!) would show a first-person view.
In terms of
animalians, the Horse direction for coe, may relate to the storage area as being a specific relationship between two tank!s: between a primary tank! and a secondary tank!.
So then there can be 3 directions for
coe:
- coe in the ordinary environment of primary tank!
- coe in the Rider direction within the secondary tank!
- coe in the Horse direction between the tank!s that allows the secondary tank! to use the primary tank as a reference
