the concealed flower

Know the concealed flower. “What is concealed is the flower. What is not concealed cannot be the flower.” To know this distinction is the flower, and among all flowers this flower is the most important.

Dos, Takeo. The Anatomy of Self: The Individual Versus Society. Tokyo: Kodansha International, 1988; 110-111.

resistance to this submission

The art of witches is that of a resistance to this submission, a resistance to the ‘we have tos’ that minions make into a principle of legitimacy. … The witches learned this art in the moment of great distress, during the election of Ronald Reagan in 1980. It is then that the mutation of a tradition, the Wicca tradition (re-)born in England and exported to California, was produced. It then became a field for experimentation, cultivating the art of rituals able to give the inheritors of feminist, non-violent, anti-imperialist, ecological struggles the strength to resist the ordeal. …those who have made the choice of calling themselves witches and activists have posed the hypothesis that to resist such a system, to learn to struggle against it, imposed the rediscovery/reinvention of old resources, the destruction of which has probably contributed to our vulnerability.
Pignarre, Phillipe and Stengers, Isabella. Capitalist Sorcery: Breaking the Spell. Palsgrave Macmillan, 2011. 136


Unity-mergence has two effects: first what Buckminster Fuller and others have referred to as synergy—the power of the whole which exceeds the summated power of the parts (as the strength of an alloy exceeds the strength of component metals); and second what might be called potentiation or empowering—the power of each individual component is augmented by the power of the unified whole….

a deep habit

Like many of Tesla’s inventions, the Tesla coil exploits the principle of resonance which has become such a common trope in contemporary thought as to warrant a brief description here. Not so much a law of nature as a deep habit, resonance pops up across the board, emerging in electrical systems, steam engines, and molecular dynamics, as well as Tuvan overtone chanting and the tuning of TV sets. Everything vibrates, and when the oscillating vibrations of different systems coincide, or resonate, large quantities of energy can be exchanged from one system to the other.

Davis, Erik. TechGnosis: Myth, Magic, and Mysticism in the Age of Information. New York: Harmony Books, 2004. 86-7.

the implicate order

The mathematics itself suggest a movement in which everything, in which any particular element of space may have a field which unfolds into the whole and the whole enfolds into it. So you have this movement, and I call this the implicate or enfolded order which unfolds into the explicate order where everything is separate. now the implicate order, everything is internally related to everything. Everything contains everything.

Bohm, David. Wijers, Louwrien. Art Meets Science and Spirituality in a Changing Economy – Pt. 1 – From Fragmentation to Wholeness, 1999. (film of panel discussion. “This film, part one of the series, features the Dalai Lama speaking on the nature of mind and on his personal feelings as leader of the Tibetans in exile, the physicist David Bohm, who explains his theory of the “implicate order”; and interviews with artist Robert Rauschenberg and Russian economist Stanislav Menshikov.”)

or subtle mind is sometimes called Clear Light

You see, within—now I don’t know what to say, mind or consciousness—in any case, I think the knower…We say: “I know this,” “I do not know this.” When we say: “I know” and “How do I know,” then there is some special, whether you call it energy, or mind, or consciousness, there is something which actually grasps the thing. Through that we say: “I know.” For example when I feel pain. I physically feel pain actually, but we say: “I have pain.” Like that there is some special energy through which we say “I know.” Now that is the knower; the ultimate knower is the “I.” Of course that also is imputed. It is not existing independently. The energy we call in Sanskrit the “chitta.” In Tibetan we have a different word that I think is a more correct word. Because in Tibetan the detailed explanation is that the mind, or consciousness is one, is then divided into six or two, then further divided into six and sometimes eight, and further divided. Like that. There are so many different words, different terms. So it is much easier to explain. Now within mind, there are many different levels of subtlety. The innermost subtle consciousness, or subtle mind is sometimes called “Clear Light.” Now that, from the Buddhist viewpoint, is the ultimate creator, or origin.

Dalai Lama
Wijers, Louwrien. Writing As Sculpture: 1978-1987. New York: Wiley, 1996.

but works an effect

For in accord with the Eastern conception, the mandala symbol is not only a means of expression, but works an effect. it reacts upon its maker. Very ancient magical effects lie hidden in this symbol for it derives originally from the “enclosing circle,” the “charmed circle,” the magic of which has been preserved in countless folk customs. The image has the obvious purpose of drawing a sulcus primigenius, a magical furrow around the center, the templum, or temenos (sacred precinct), of the innermost personality, in order to prevent “flowing out,” or to guard by apotropaeic means against deflections through external influencs. The magical practices are nothing but the projections of psychic events, which are here applied in reverse to the psyche, like a kind of spell on one’s own personality. That is to say, by means of these concrete performances, the attention, or better said, the interest, is brought back to an inner sacred domain, which is the source and goal of the soul. This inner domain contains the unity of life and consciousness, which, though once possessed, has been lost, and must now be found again.

Jung, C. G. Psyche & Symbol. Ed, Violet S. de Laszlo. New York, NY: Anchor Books, 1958. 321-2

the unity of all

…overcome now by rapture, now by terror, at he mysteries which are opening before me. All round me walls are crumbling, and horizons infinitely remote and incredibly beautiful stand revealed. It is as though threads, previously unknown and unsuspected, begin to reach out and bind things together. For the first time in my life my world emerges from chaos. Everything becomes connected, forming an orderly and harmonious whole. I understand, I link together, a series of phenomena which were disconnected and appeared to have nothing in common. …
I am reading the chapter on levers. And all at once a multitude of simple things, which I knew as independent and having nothing in common, become connected and united into a great whole. A stick pushed under a stone, a penknife, a shovel, a see-saw, all these things are one and the same, they are all “levers.” In this idea there is something both terrifying and alluring. … It it as thought I already feel the unity of all and am overcome with awe at the sensation.

Ouspensky, P. D. A New Model of the Universe

a spiritualized circle

The spiral is a spiritualized circle. In the spiral form, the circle, uncoiled, unwound, has ceased to be vicious; it has been set free. I thought this up when I was a schoolboy, and I also discovered that Hegel’s triadic series (so popular in old Russia) expressed merely the essential spirality of all things in relation to time. Twirl follows twirl, and every synthesis is the thesis of the next series. If we consider the simplest spiral, three series may be distinguished in it, corresponding to those of the triad: We can call “thetic” the small curve or arc that initiates the convolution centrally; “antithetic” the larger arc that faces the first in the process of continuing it; and “synthetic” the still ampler arc that continues the second while following the first along the outer side. And so on.

Nabokov, Vladimir, Speak Memory, 275.

it is a reality in itself

The constellation is the simplest possible kind of configuration in poetry which has for its basic unit the word, it encloses a group of words as if it were drawing stars together to form a cluster.
The constellation is an arrangement, and at the same time a play-area of fixed dimensions.
The constellation is ordered by the poet. He determines the play-area, the field or force and suggests its possibilities. the reader, the new reader, grasps the idea of play, and joins in.
In the constellation something is brought into the world. It is a reality in itself and not a poem about something or other. The constellation is an invitation.

Gomringer, Eugen in Concrete Poetry: A World View. Ed. Solt, Mary Ellen. Bloomington, IN: Indiana University Press, 1968.