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light (299,793,000 metres per second or m/s), and since we are also here concerned with cer- tain dimensionalities, it might be more useful were we to attempt to express what may be even vaster differences between the various planes of the higher realities by using squared, cubed, quadrupled, etc. multiples of the speed of light c expressed in metres per second. At the same time we might also begin to get some notion of the primary, creative and formative supremacy of such high, yet extraordinarily subtle energies, for the higher the frequency of a given vibration, the shorter its wavelength and the greater its intrinsic energy and power. In this regard I have deliberately avoided using scientific notation as many readers will find it confusing. Recalling the brief discussion of the effect of sound in chapter 2, let us for the moment equate c1 above with simple vibration as the agency of physical manifestation. Energy on the other hand, through which the physical manifestation is animated, is determined using c2. In striving to obtain a more graphic concept of the possible structure of the various ener- getic and spiritual levels of reality, we could therefore say that: Vibration (= c1) cannot take place without energy (= c2), but energy cannot manifest itself without form (= c3). Having cer- tain 3-dimensional connotations, here c3 brings to mind the morphogenetic fields of Rupert Sheldrake8 which, as vibratory matrices pos- sessed of certain properties and potential, are the immaterial energetic agencies that engen- der the emergence of a new species. As the configuration of the formative pat- terning (the design) of a given progenerative matrix becomes 'hardened', as it were, or per- fected through its frequent reiteration, each successive reproduction of the entity in ques- tion becomes increasingly easier, its character 4: What is Motion? 75 and appearance at the same time becoming more and more well-defined. Such a form, however, cannot be created without a design (= c4) and the design cannot be conceived without the idea (= c5). As Plutarch states: An idea is a being incorporeal, which has no sub- sistence by itself, but gives figure and form unto shapeless matter, and becomes the cause of the manifestation. (De Placit. Philos). The existence of the idea demands an intel- lect (= c6) and intellect requires a higher con- sciousness (= c7), all of which are enclosed one within the other like Russian dolls, c7, the Eternally Creative Intelligence, must neces- sarily lie at the very centre, the hub, in order to regulate and be aware of all it surveys, always ready to develop new systems to fill new needs or to gain new experiences. As an architect I have long been associated with processes of design, the end-product culminating from recurrent movements between the dialectic opposites of analysis and synthesis. A building does not just hap- pen, but is the physical outcome of a great deal of mental activity in realms of unknown dimension. What eventually results is the synthesis of the interaction of various imma- terial energies and imagery, themselves vibrations of a kind. For example, a kitchen is not merely an assembly of various elements, although viewed purely theoretically if all the elements of sink, stove, refrigerator, etc are placed in one space, then the material parameters of a kitchen are fulfilled. If by accident they were disposed in a certain con- figuration, then the space as a kitchen might actually work. However, to ensure as far as possible that this space is both aesthetically pleasing as well as functional, then it must be designed.PDF Image | Viktor Schauberger Work Explained
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