It’s been over six months since my last post on this blog. As you may or may not know, I have been working full-time and have limited time available for my creative and philosophical writing. Despite being busy, I feel it’s important for me to at least occasionally keep one hand on the steering wheel of my work as a Worldview Artist and Integral Metasynthesizer.
Let me explain what I’m talking about for those of you who are new to this blog, and while I’m at it I will also conclude with a few words about the substantial changes I’ve made here.
I have a doubly difficult quandry in communicating my writing niche to the general public. I’m working on a solution for this, but until that day comes, I have to first explain to someone what the Integral consciousness and culture is all about, and let folks know that I fit within this general orientation to reality. It’s not a religion and it’s certainly not a cult. It’s kind of like a philosophy, but it could also be seen to be a way of approaching many different competing philosophies.
It’s got groups, but it’s not organized; it’s got leaders, but they’re not appointed or elected; it’s got values, but just when you think you know what they are someone denies them outright. We are the folks taking a meta-view on all the major developmental stations of life and seeking to coordinate them gently and yet effectively, in order to bend the curve of human history and inspire greatness in cultural evolution.
And there are integral folks who disagree with all that or think it’s based on scientific fallacies and they hang out in our chat rooms and keep nagging at us. Don’t get me started on them.
So that’s the integral part of the equation. It tells us that there are basically three kinds of people (trust me, some of you are going to hate this): pre-integral consciousness, integral consciousness, and super-integral consciousness.
- Pre-integrals may be aware of certain facts concerning human development, but they have not interiorized the significance of evolution to the point where it’s really changed their outlook or identity.
- Integrals are so turned on by the notion that they are a living and breathing whole/part with the spirit of the Kosmos coursing through them that they can’t stop seeing developmental patterns (it’s really inside them now).
- And then there are the super-integrals, which is everyone who has passed through the integral stage and has entered one of the farther reaches of mature adult consciousness. The super-integrals haven’t left evolution behind, but it is probably no longer foregrounded in their values, identity, or consciousness.
Now, you’re ready to receive my explanation of what Worldview Artistry is all about, whether you are pre-integral or integral or something else.
Worldview Artistry is my coinage for a certain kind of artistry established in a super-integral consciousness which takes all the worldviews (magical, mythic, rational, pluralistic, integral, etc.) described by integral consciousness as its object (and maybe more), and then arranges them in alignment to artworks with alchemically profound compositions. By alchemically profound, basically I mean arrangements with the ability to psychoactively facilitate individual growth and create cultural catharsis.
The well-known works of Ken Wilber contain many important alchemical artworks (The Wilber-Combs Lattice, The Four Quadrants, The Altitudes of Integral Spirituality, etc.) Although Wilber himself tends to dismiss the importance of the numerological and geometric particularity of these compositions (which he calls diagrams), they are foundational to his philosophy. Of course, Wilber says perspectives are primordial, but there are also times when he has said that the quadrants themselves are primordial. I would tend to agree, asserting that the Four Quadrants are an invaluable alchemical artwork within a methodological pluralism of sacred geometries.
The website you are reading, “Joe Perez: Worldview Artistry & Integral Metasynthesis”, contains several original works of alchemical art. The Nine Elements is perhaps the most fundamental of them all, given its task of setting the major vowels of human language within a meaningful context of the Lo Shu Magic Square. The vowels reappear in The Jiu Gua (a.k.a. Integral Universalism), a reimagining of the Bagua which brings it into alignment with The Nine Elements. What’s more, The Wheel of Spirit (inspired by the medicine wheel of Native American custom) adds the consonants to the vowels and sets all of them into a symbol of natural mysticism. The Kalendar is the biggest one of them all: it includes 729 distinct stations based on subtleties each being 6 marks in length, and each part capable of carrying two consonants in Lingua-U. And so on.
But what then is Integral Metasynthesis (and why are you only telling us about this now)? Basically, when I’ve defined Worldview Artistry in such a way that it could apply to a wide variety of different uses of illustration within a spiritual or philosophical context, I worried that its real importance would become diluted. Integral Metasynthesis is what happens when alchemical artworks are specifically established on the basis of translating linguistic elements into corresponding patterns, and then language is “taken up” into the art itself, and commentaries on the art, including philosophy and theology. Sacred alphabets have been in existence for centuries, but my own Lingua-U may be the first to be based on modern linguistic research into the phonetic features of phonemes (such as plosive, fricative, and nasal patterns), rather than the sounds themselves.
So now I hope you can surmise what I’ve been doing all along on this blog: Worldview Artistry and Integral Metasynthesis. The former shows up not only in the artworks contained herein, but also implicitly in the work of Wilber, Terri O’Fallon, and many others whose work has received commentary. We integralists are all worldview artists — just look at how we draw values into gorgeous spirals and paint worldviews in beautiful colors. The latter shows up, well honestly, mainly just in my own work, right now.
If I may boast in a weird way, no other integral thinker has dared to reveal to you the astonishing esoteric link between Teal (4.5 in STAGES) and the phoneme /zh/ or described the entryway to Turquoise (5.0 in STAGES) as both a Gate and an Abyss, based on his metasynthetic analysis of The Kalendar. If you study these links for long enough, you realize that they are not spurious correlations but amazing feats of up-leveled magic.
Very few thinkers have done Integral Metasynthesis, and I suspect it’s at least in part because they don’t want people to think they’ve gone off the deep end. And maybe I did, just a little bit, but it was all for a good cause. When you start using language in ways that other people don’t understand, even if it’s replete with manifold beauty and usefulness, out come the pitchforks.
Well, that’s all I have for you tonight. Enjoy the newly renovated blog. It’s much leaner and firmer and toned now. I’ve removed all the short notes and all the draft versions of upcoming books (sorry, fans of The Kalendar!).