Search A Light In The Darkness

Sunday 15 February 2009

Sacred Sight (or improving sight naturally)

And so the nursery rhyme goes. Preschool kids learn to count in many fun ways to give them a head start in arithmetic. Once they enter the formalised school system, the subject matter eventually takes on a more serious “measure.” As the grades advance, the material progresses into more complex and diverse subjects, such as geometry, trigonometry, algebra and calculus.

The focus of formalised mathematical education is all about quantity, for numeracy is as important as literacy in our Western world of clocks, commerce and computers. This type of calculation, although very pragmatic, is really only half the equation. The educational system is usually devoid of any reference to the quality of numbers. The ancient traditions of “sacred number” and “sacred geometry” have been largely snuffed out over time. The deeper spiritual aspect – studying the repeating shapes, forms, symbols and patterns in nature – is all but lost in our work-a-day world. We need to bring these esoteric traditions back into view, and what better way to begin than with vision itself.

The spiritual side of the computational equation starts at the same point – literally. The ancient Greek mathematical philosophers viewed the number one as unity, a wholeness that provides a divine order to the cosmos. The circle, which is constructed from a central point, is the sacred geometric representation of this wholeness, the One that forms the Many. There exists one unique pattern of the circle, of which all circles share the same principles. But no two circles that arise from the One are identical.

Circular shapes abound in nature. Of particular significance is the circular shape of the human eyeball, the organ of our most valuable sense of sight. Ralph Waldo Emmerson recognised the first sacred shape in the human form when he wrote, “The eye is the first circle, the horizon which it forms is the second.” Other circles immediately apparent in the eye are the iris, the coloured portion, and the pupil, the black area which dilates and contracts in response to changing light stimuli.

Deep within the eye, unbeknownst to an observer, the point and the circle play an important role in how we visually perceive the outside world. The inside back portion of the eye (the “retina”) contains numerous light receptors called “cones.” The cones are distributed in such a way that the highest concentration is packed in a very small centre area called the “fovea centralis.” The cones gradually diminish in density as the distance increases from the fovea centralis. The cones are virtually non-existent at the outer periphery, or circumference, of the retina.

Contrary to what some may believe, we do not see equally clearly within the entire circle of our visual field. The focus is different than that captured on photographic film by a camera. The distribution of cones in the eye means that we see the clearest in the central point of our sight. Objects in the periphery are less clear. Because the cone distribution in the retina follows a geometric pattern similar to the energy distribution in a concentric wave, I call it “concentric focus.”

Also within the retina are receptors called “rods.” It is believed that the rods sense movement in our peripheral field. The distribution of the rods is essentially the opposite of the cones. The rods are non-existent in the centre and gradually increase in density towards the periphery. That’s why something moving in your peripheral field of vision can abruptly grab your attention. Another principle of the circle is the continuous rotary motion of cycles and rhythms. With eyesight, oscillating rhythms are manifest in several ways. One of the most obvious is the continuous blink reflex. Our eyes also respond in cycles by closing at night and opening in the day. During sleep, the eyes have an alternating motion called rapid eye movement (REM), and when awake, they have numerous subconscious micro-movements – some vibrating at the frequency of a strummed guitar string – to key in on objects and maintain focus. The motion is contrary to that of a still camera, for without the continuous rhythmic activity, objects would quickly fade into blur ....

Source: New Dawn Magazine