THERE used to be much talk about ley-lines, grid-lines, fields of force and so forth - the invisible magnetic currents, the path of flight and of watercourses, underground ravines and corresponding influences. Every road which was given a beginning and an end, that was designated a linear path to repeatedly follow, every such road brought about a line of magnetism which corresponded to its draft. Not only was there then the natural vein and plot, but also now all of those intersections and divisions upon the land, every one actually making a difference.
There becomes an 'echo' directly above the segment chartered, an echo of ground impression, a wall in the ethers mirroring the continuum. This phenomenon does not interfere with sound or with light, but rather the sense of touch and of 'feelings' beyond ordinary gravitation. If one were to hover above the line of road they would 'feel' the line, and be so inclined to pursue it. Of course one is usually with feet on the ground and it is natural to follow the road, even if it is possible to wander haphazardly off and around.
At intersections we experience differently. Our consciousness is focused to the point of choice and where we are, and the inclination now being optional is less persuading. Instead of forward there becomes the call from the left, right and now behind, and the actual 'feeling' is of centeredness.
It is by no mistaken fantasy that the magician makes lines on the ground or in the air. A small child will take a toy car and be pleased to drive it, pushing it from the beginning of his line in the dirt to the end, over and over again. This motion, this application, is effecting an invisible edifice which becomes reinforced with the repetitive motion along its line, and the man or boy can instinctively feel the resistance it holds.
Lines have a definite presence whether curved, angular or straight, they are form within a physical world that is stuck together with a cosmic gum; but may if worked (physically), appeal to the subtle realms and dictate some authority.
The game of hopscotch is a good example of the lines - as of impression, to which the child responds. Hopscotch without lines or boxes, with just numbers or pebbles, would be contrary to the reality of the game, which is the feeling of oneself in relation to the lines and intersections and the invisible rails directly above.
We proceed in a direction and move on from a given beginning - propulsion occurs because of the line, whether mapped and located physically or otherwise. We are transported, we have mobility, we go from beginning to end (as in travel) because of a line which must preexist beforehand. There are configurations of circulation everywhere. And there are larger routes to follow once outside the film of this planet - and, no road, no go!
Internally I have two poles: a veritable north and south, which provide me with the firsthand recognition of corresponding set points 'without' my being. Furthermore, I share a north/south relationship with all that have shared signature-keys; i.e. they have a north to my south; I, a north to their south, and when so stimulated these set points run a gossamer-like thread from one to the other - a line from one to the other, negotiating distance and space through such connection. It is an umbilical convening.
- Written words remain in the ether, as with all lines. The succession of squiggles - if you will - once formed, if only once, remains; and the words talk repetitiously, as though an audible recording.
- There is a binding quality of author to word or painter to art, whereby the writer is perpetually associated with what he has written. In this way it is entirely plausible that one becomes linked with a favorite author and may step inside the vision they held at the time of condensing it into a spill of written words.
There is a point to be had also about this definitive record: that unlike truth it becomes sedentary and 'lifeless' and for this reason there has been much speculation about the value of the written impression. It is obviously a potent mediator, and yet not all are in a position to commit themselves in the very way it requires.
Just as we may experience natural pleasure pursuing lines - following a winding track, exploring a maze, following lines with a pen, carving our lines in the sand (not so transitory as first imagined), charting a map or design etc.- we also know of the experience of crossing a line; as in the literal sense of crossing over. The tennis ball passes to and fro over the designated line, we cross over the threshold from outside to inside, we interject in discussion and cross over the 'line of thought' put before us. The child's skipping over the turning rope, is perhaps the best example of this.
So we have two movements thus defined: that of pursuing a course, acknowledging a set start and a continuance defined, whilst also, the unbroken line before us being vertically negotiated. If we have (diagram: straight line) there is movement, if there is (diagram: a cross), we have an obstruction which will withhold us until crossed.
Music transcends the progressive line because each note is a linear extremity belonging to its own plane. The grouping of notes becomes not as one line in reality, but rather the set formula of lines, each extending outwardly. For example: the lines of the music sheet are explanatory to this happening. The written word (not spoken) is a formula of one plane, whereas the melody (performed) extends over as many planes as there are notes harmonizing; and all are conjoined sympathetically by the composer and the performer. This is why we can foresee a future - as with a past - where creativity is effected through song. For there is a counter-dependence of clusters of realms; and not only in the immediate but also raying out and repeating the recipe of harmonies in higher levels again.
There is a divine working in properly ordered harmonies and vice versa - original cognition of manifestation already brought into being by song, may be interpreted through song. Just as the author of the original sequence may be encountered, we may be transported into higher realms by the right music, which is but a very ancient tune; as old as witness to that part of Creation which it helped to form.
To the 'muse'-ician: Do not try purposefully for the beginning or the end of the melody or for arranging around words for this type of 'accordance' (a-chord-dance - Lexi-grammar!), you will feel it, and might be better served by recording it as it comes the first time, that you may later note it down in those passages you believe worthy.
There becomes a release from lines and obstructing lines, in the experience of interweaving melodies which run the scale up and down from the highest to the lowest etc., building and resting upon each other and perpetuating infinitely.
The complexity of sound in relation to ether is an exciting realm for which much will be developed. Our voices will be melodic as Heaven enters into our thinking and our expression; and we will combine many corresponding levels of sympathy all at the one time. Some have just begun to acknowledge the possibilities of this form of awareness, rich and warm - the true art of conversation has just begun!