But, if we don’t know who did the crime, doesn’t mean that the perpetrator doesn’t exist. If we don’t know where the gold from the sunken sheep is hidden doesn’t mean that there is no gold. In some sort of hardly understandable way, people here refuse to see something that is undoubtedly in front of them.
If in that story the naked king was observed as dressed in the most beautiful clothes, here everyone in the fully dressed king can only see just a naked little man! It is as same as if an authority will speak in public that it is the biggest nonsense to believe that the rain pours from the clouds, because no one can tell who is the one that makes the clouds. It is time to realize that the rain pours straight from the clouds, no matter that no one can identify their creator.
Let us take one big orchestra, Boston’s or Skopje’s Philharmonic Orchestra for example. Let us further presume that this orchestra will perform a musical act, but without a conductor. If among the audience of such concert we presume that there is someone who is completely uninformed of music matters, he would be totally confused. The fact that 60 musicians are playing huge number of different instruments and during that the result of every single tone is undoubtedly a compact music performance, he could have explained this just with a concept of some kind of previous practice. This would lead him to the concept of an author of the music act – the composer and to the concept of the one that unifies the efforts of the musicians into a music performance – the conductor. This kind of a logically forced deduction, would obligate him to presume a certain act that existed in the past, in order to be able to comprehend what he now witnesses with his very own eyes and ears.
The assumption that to the manifested reality – the music performance – necessarily preceded a reality which prepared (inspired, conspired,) the present event, for such listener would be absolutely unambiguous. So today, when we listen a performance of music acts by composers that are long ago gone from this world, we also know that they have existed. Absent, invisible, maybe passed away a long time ago, the composer is always an unavoidable premise of every music act, every concert is a new evidence of previously existing organized idea – composition / conspiracy.
In religion the central idea of the world and God by itself is built in accordance of the previously completed postulate of conspiracy! The world is act of God, with lots unknown things, but with out doubts, till the end, to the tiniest detail, with a purpose. The Great Composer to this world, understood as eternal music score, is needy presumed, although he never appears on stage. The perfection of some details of the performance, their synchronization and harmony testify that in the same mysterious image is unavoidable waved in and the part of the great conductor. Is there a way towards Him? Is it possible to get even in front of the gates beyond His castle and He himself!?
To what else has aimed and aims each great religions mystic, theoretician, theologian and theosophist? While wishing to surrender to him, to get to know him, to understand him, to feel God, doesn’t he look for the great Conductor, the Great Composer, doesn’t he long for an understanding of his score in that immeasurable, timeless symphony created by Him!? What else so passionately the mystic, the monk, the believer longs for with his faith, hope and love, but to discover the God’s Secret! To penetrate into the Great Conspiracy!
What can be seen as a common denominator for all organization forms of human systematic social activity is the fact of total conviction that the world is a puzzle, that every puzzle has its own solution and accordingly, searching for solution is not only legitimate, but the highest obligation of a creature gifted with passion and sense…
Everyone searches in accordance with his capacity and affinity of a researcher. The people from Castaneda’s circle chose to search by using and advancing the archaic techniques of ecstasy! You must get out of this world to enter that one. You must get out of self-seemingness, out of the one that doesn’t know, to enter into your truly self, into the one that knows.
Carlos Castaneda does exactly that. In the literary work “The occult” (Collin Wilson: The Occult, 1973), which presents encyclopedic study of the great, historic magi of the occultism, Collin Wilson concludes that among a few truly authentic researches of the none-empirical experience trough ecstatic techniques, belongs what now Castaneda does. And at the time when these lines of Collin Wilson have been written, Carlos Castaneda was barely known by some closest experts of these problems. But even than he separates not as a user of hallucinogenic and excitements, but as a man who directed his life towards maximum uncompromising research of all ways of ecstasy, in order with all, no matter how fragile certainty to try to resolve the Conspiratio Universalis!
His ten books are massages of that research. Chronological forwarded, they follow the hierarchy structure of discovery, more exactly of the world. Only that way, the philosopher, the physicist, and the theologian can be put together in the same team, in the same mental circle.
The central knowledge of these results is deep under the descriptive prairie of narrating prose through which mainly we receive Castaneda’s messages.
Firstly, regarding the big enigma of self-identity, with which starts and ends practically every philosophical, but also every consistently carried exact system, Carlos Castaneda involves one radical innovation. He doesn’t except the thesis of the intermezzo of necessity and accident of some biological determination, in which one of ten millions spermatozoids will fight for a start in some kind of new life.
In this kind of constellation Castaneda reckons the personal identity would stay completely unexplained.
“I am not reproduced!”
This loud exclamation, that echoes over the galaxy abysses, from which we are, as they want to convince us, accidentally produced and in which we will without trace squander again, is that Archimedes’s point with which Castaneda not only moves, but builds his own mental and psychological universe. Each of us is made through intelligent, pointed towards an aim, teleology thought out process. In this process act unthinkably complex, sophisticated, reach, but basically natural breeze of judgments, from inorganic to highly ethics, from one at the moment, to those who reach at eternity!
the art is inside
