Wilson tells us he is often oblivious to the scenery because his robot has taken over the task of cutting out irrelevant details so he can get through a day’s work. Yet when his day is over and he wants to relax, he often finds that he can’t. His automatic pilot—the robot—is in gear and won’t let go. Wilson is not alone in this; it is a central human problem, the central human problem. Descartes believed that animals were really robots. Clearly he was wrong. We are the robots. Or rather, we are like people who allow their servants to do everything for them, and subsequently feel they have lost touch with life, but don’t know exactly why. Wilson is fond of quoting T. S. Eliot’s line from Choruses From the Rock: “Where is the life we have lost in living?” It’s with the robot.
Source: Colin Wilson and “The Robot”
” Specialism consists in seeing the things of the material world as well as those of the spiritual world in their original and consequential ramifications. The highest human genius is that which starts from the shadows of abstraction to advance into the light of specialism. (Specialism, species, sight, speculation, seeing all, and that at one glance; speculum, the mirror or means of estimating a thing by seeing it in its entirety)” ~ Honore de Balzac
Balzac was standing before the fireplace of that dear room where I have seen so many remarkable men and women come and go. He was not tall, though the light on his face and the mobility of his figure prevented me from noticing his stature. His body swayed with his thought; there seemed at times to be a space between him and the floor; occasionally he stooped as though to gather an idea at his feet, and then he rose on them to follow the flight of his thought above him. At the moment of my entrance he was carried away by the subject of a conversation then going on with Monsieur and Madame de Girardin, and only interrupted himself for a moment to give me a keen, rapid, gracious look of extreme kindness.
He was stout, solid, square at the base and across the shoulders. The neck, chest, body and thighs were powerful, with something of Mirabeau’s amplitude, but without heaviness. His soul was apparent, and seemed to carry everything lightly, gaily, like a supple covering, not in the least like a burden. His size seemed to give him power, not to deprive him of it. His short arms gesticulated easily; he talked as an orator speaks. His voice resounded with the somewhat vehement energy of his lungs, but it had neither roughness nor sarcasm nor anger in it; his legs, on which he rather swayed himself, bore the torso easily; his hands, which were large and plump, expressed his thought as he waved them. Such was the outward man in that robust frame. But in presence of the face it was difficult to think of the structure. That speaking face, from which it was not easy to remove one’s eye, charmed and fascinated you; his hair was worn in thick masses; his black eyes pierced you like darts dipped in kindliness; they entered confidingly into yours like friends. His cheeks were full and ruddy; the nose well modeled, though rather long; the lips finely outlined, but full and raised at the corners; the teeth irregular and notched. His head was apt to lean to one side, and then, when the talk excited him, it was lifted quickly with an heroic sort of pride.
But the dominant expression of his face, greater than even that of intellect, was the manifestation of goodness and kindheartedness. He won your mind when he spoke, but he won your heart when he was silent. No feeling of envy or hatred could have been expressed by that face; it was impossible that it should seem otherwise than kind. But the kindness was not that of indifference; it was loving kindness, conscious of its meaning and conscious of others; it inspired gratitude and frankness, and defied all those who knew him not to love him. A childlike merriment was in his aspect; here was a soul at play; he had dropped his pen to be happy among friends, and it was impossible not to be joyous where he was . ~ Alphonse de Lamartine
From Cosmic Consciousness, by Richard Maurice Bucke, , at sacred-texts.com Chapter 12 Honoré de Balzac.
For those who read French, you can read Lamartine’s work “Balzac et ses ouevres online at https://archive.org/details/balzacetsesoeuvr00lama
and Honore de Balzac, by Albert Keim and Louis Lumet at Project Gutenberg http://www.gutenberg.org/files/3625/3625-h/3625-h.htm
That Neptune-pervaded love is not a feeling of (as ordinarily meant) compassion for whatever experiences suffering or deprivation. This love is an act of transfiguration, a flow of light, a song of tenderness; it is mother love as well as lover love, for it seeks to hold everything — and, of course, more particularly, the object upon which the love is then focused — in the vast openness of a consciousness for which every contact is, or tends to be, a dissolution of boundaries and an absolution for past fears, refusals or sins.
As Venus is polarized by Mars, so is Neptune polarized by Uranus. Neptune is the “lashless eye” of divinity, always open to absorb light and receive the messages of need and longing from whoever is ready for transfiguration; Uranus is the response of the eye, the glowing glance that, to the individual yearning for release from the cyclic involvements of normality and productivity, is an intoxicating drink of “living waters,” a song of peace beyond yet through all tragedies.
“More abstractly, it’s a method of consciously entering into a dialogue with the unconscious, which triggers the transcendent function, a vital shift in consciousness, brought about through the union of the conscious and unconscious minds. Unexpected insights and self-renewal are some of the results of the transcendent function. It achieves what I call that elusive Goldilocks’ condition, the just right’ of having the conscious and unconscious minds work together, rather than being at odds. In the process it produces a third state more vivid and real’ than either; in it we recognize what consciousness should be like and see our normal’ state as at best a muddling-through”
by Gary Lachman
“Benjamin Betts’ Geometrical Psychology from 1887 contains a sequence of delicately toned geometric figures intended to represent no less than ‘the evolution of human consciousness from the animal, zero, or starting point, through to the culmination of human possibilities – the transcendental’. Originally educated as an architect, Betts resolved to end his career determined to visualise the internal through his idiosyncratic topological models.” http://www.dataisnature.com/?p=1693
“Geometrical psychology, or, The science of representation: an abstract of the theories and diagrams of B. W. Betts details Benjamin Bett’s remarkable attempts to mathematically model human consciousness through geometric forms. From the Introduction:
The symbolic forms which Mr. Betts has evolved through his system of Representation resemble, when developed in two dimensions, conventionalised but very scientifically and beautifully conventionalised leaf-outlines. When in more than two dimensions they approximate to the forms of flowers and crystals. …. The fact that he has accidentally portrayed plant-forms when he was studying human evolution is an assurance to Mr. Betts of the fitness of the symbols he has developed, as it affords presumptive evidence that the laws he is studying intuitively admit of universal application.”