The three shifts of the new paradigm
par Marika Bouchon
University of Western Sydney - Master in social ecology 1998
Researching 'New Paradigm' Mind
Natural mechanism B-Synchronicity
Creator-Knower Self A-Creation
Perceptual re-education Task of evolving
Using the BodyMindSelf
Power of Creation
Direction B: Direction A:
Awareness Creative Action
Researching 'New Paradigm Mind'
In this chapter, I will present the core of my work: the hypothesis of what I call 'New Paradigm Mind'. This developed partly from my efforts to understand 'Business Flow', synchronicity, and the nature of my 'spiritual development', and partly from trying to make sense of my 'Exceptional Experiences' (EEs), which I have found are reflected, but only partially explained in the existing literature. So I am endeavouring to develop a more integrated understanding. To do this, I am applying New Paradigm thinking, as I began to define it in chapter 1 and 2, and refining it here, to the understanding of the mind. I will present a picture of how the New Paradigm mind would function, and what it would feel like to use one's mind that way. I will analyse the characteristics and skills that might be developed and how these would affect a person's effectiveness in life. This is necessarily an exploration and a provisional view, which I am using as a perspective for my experiential work. It is an emerging and complex view of what it is to be a human being living fully present and integrated into the world.
This has required me to examine my experiences from the viewpoint of at least the following areas: psychology (including values, purpose, self-actualisation), spiritual meaning (transpersonal psychology, dreaming, EEs, and synchronicity), skills of attention and other related skills, phenomenological aspects such as peak or flow experiences (or EEs) and transformation (or EHEs), the ways in which I form thoughts, and the components of my 'experience', with a relation to social aspects and to the body. Creativity takes a special place because it has connections to all the other fields. Creativity involves the self-organising force within me that drives the evolution of my self-concept, requires a higher order of meaning, triggers flow experiences, and drives my desire to develop the skills required to 'create my own reality' as, for example, the Hawaiian Huna tradition claims a human being can do (Kahili King, 1985, 1990). In its higher form, I call it my 'power of Creation'. Intuition is treated here as the receptive aspect of a general quality of mind whose active aspect is creativity.
I leave out of this study the huge but related, fields
of emotional healing and interpersonal relationships that
for others to research. The process of maturing and integrating the personality is a pre-requisit for the adequate use of the 'power of creation'. I consider it a given for this work, which requires a conscious and unbiased (as much as is possible) awareness of personal motivations and assumptions, a capacity to communicate effectively with oneself and others, and deals with the functioning of thought and perception rather than subjective and psychological experience per se.
"The emergence of intuition is part of a more global shift in values that has been chronicled by numerous sharp-eyed observers. The passionate pursuit of both individual growth and a better world, begun in earnest in the 1960 's, has led to a re-evaluation of conventional beliefs, among them, the way we use our minds and the way we approach knowledge."
(Goldberg, 1983, p.16)
Goldberg's words describe well my experience relative to mind and knowledge, especially over the past 12 months. The same applies to the way I approach my relation to the world, and so to the action component of the shift in thinking, creativity, is central. My concern is with the possibility that we may have a direct, creative influence on reality, voluntarily or not, and not only social reality. We need to develop frameworks to understand how we may use better our body and mind in all their aspects, how to live more effectively in the world and with an inner sense of fulfilment and happiness.
In this study, I will investigate how each aspect of experience comes into play in the creative and self-rerecreating process of 'spiritual' development, and I will arrange these dimensions into a multi-dimensional continuum. I recognised in particular two complementary processes within myself, which require each the development of different, mutually supportive skills. I have called them the 'A' and 'B' directions of experience (my terminology for this may evolve). I have found only hints, in the literature, concerning these processes, often in metaphoric terms, but no explicit descriptions or discussions. In many models, these two directions are simply not recognised and are confused with a single, linear movement of 'development'.
In distinguishing previously undistinguished elements of experience, I make connections between a great number of insights from a number of fields and so need to form a unifying framework that is analytical but must also be wholistic, preserving the complexity while also highlighting analogies and simplicity. My goal is not to make prediction possible but to bring into light areas offering a potential for learning and evolution.
I could find no linear way to expose the complexity of all these aspects, so I will be retracing somewhat the 'detective story' of my inquiry, highlighting (in boxes) specific side issues. The experiential part of my study comes in the form of EE reports*, which I have gathered in Appendix 3.3 to maintain a certain logic flow of the
* See chapter 1, on science, for a presentation of 'Exceptional Experiences' describing the phenomenology of the experiences, and how to report on them.
ideas presented. The overall organisation of this chapter brings together a wide variety of ideas into clusters which reflect each a different aspect of the whole that is 'a person'. In this sense, each cluster is a kind of 'fractal' image (a chaos theory term) of the whole, but expressed through a different aspect of experience. These are: psychological meaning of 'self', creativity, the functions of mind, the two directions of awareness and evolution, the present and the holistic flow experience, the skills of body and mind, and the effects of our relating to the world: synchronicity. I have addressed the social aspects in my recent SLAM paper (Bouchon, 1998d), which I will summarise in my conclusions, and the 'ecological self' appears through what I will call 'Natural Awareness'. Each cluster of ideas also contains graphic figures, my way of making use of 'imaging' qualities of mind, in order to brush a rich picture of what 'New Paradigm mind' might be. The very process of writing this chapter and the whole document has been for me an opportunity to learn to think in this complex manner in order to express the simplicity of my intuitive understanding (see EE #1 in Appendix 3.3).
'Creating' is bringing into actuality a new reality, so it originates in the way we view present 'reality', know it, perceive it, interpret it, like or dislike it, and so relies also on the assumptions we make about what 'reality' altogether is. The creative process is based on 'knowing'. Intuition is one way to extend our ability to know. I agree with Goldberg when he writes:
"Where intuition is concerned, the obstacles are rooted in long-standing epistemological assumptions, which are perpetuated in the institutions that teach us how to use our minds." (Goldberg, 1983, p.16)
Creation and epistemology are intimately linked. Creation and intuition, acting and knowing, are two aspects of the same coin, two expressions of the human mind. This led to my wondering what 'science' means, and to my desire to redefine it as I did in chapter 1.
9Impact, le film from Onalukusu Luambo on Vimeo.