pRANAM
Quantum is not a new find of the modern physics; it is rig vedic old
and we reflected in our worship as DANCING NATARAJA OF CHIDAMBARAM. This
statue is kept symbolic at the entrance of the California Berkley
university as well as the atomic word of CERN Switzerland. We are unaware
of the interpretations in depth.
“The Eastern mystics have a dynamic view of the universe similar to
that of modern physics, and consequently it is not surprising that they,
too, have used the image of the dance to convey their intuition of nature.
A beautiful example of such an image of rhythm and dance is given by
Alexandra David-Neel in her *Tibetan Journey, *where she describes how she
met a Lama who referred to himself as a “master of sound” and gave her the
following account of his view of matter:
All things . . . are aggregations of atoms that dance and by their
movements produce sounds. When the rhythm of the dance changes, the sound
it produces also changes. . . . Each atom perpetually sings its song, and
the sound, at every moment, creates dense and subtle forms.
2 The similarity of this view to that of modern physics becomes
particularly striking when we remember that sound is a wave with a certain
frequency which changes when the sound does, and that particles, the modern
equivalent of the old concept of atoms, are also waves with frequencies
proportional to their energies.
According to field theory, each particle does indeed “perpetually
sing its song,” producing rhythmic patterns of energy (the virtual
particles) in “dense and subtle forms.” The metaphor of the cosmic dance
has found its most profound and beautiful expression in Hinduism in the
image of the dancing god Shiva. Among his many incarnations, Shiva, one of
the oldest and most popular Indian gods appears as the King of Dancers*.
According to Hindu belief, all life is part of a great rhythmic process of
creation and destruction, of death and rebirth, and Shiva**’**s dance
symbolizes this eternal life-death rhythm, which goes on in endless cycles.*
In the words of Ananda Coomaraswamy, In the night of *Brahman*,
Nature is inert, and cannot dance till Shiva wills it: He rises from His
rapture, and dancing sends through inert matter pulsing waves of awakening
sound, and lo! matter also dances, appearing as a glory
round about Him. Dancing, He sustains its manifold phenomena. In the
fullness of time, still dancing, He destroys all forms and names by fire
and gives new rest. This is poetry, but none the less science.3
*The Dance of Shiva symbolizes not only the cosmic cycles of creation and
destruction, but also the daily rhythm of birth and death which is seen in
Indian mysticism as the basis of all existence.* At the same time, Shiva
reminds us that the manifold forms in the world are *maya**—*not
fundamental but illusory and ever-changing—as he keeps creating and
dissolving them in the ceaseless flow of his dance.
As Heinrich Zimmer has put it: “His gestures wild and full of grace,
precipitate the cosmic illusion; his flying arms and legs and the swaying
of his torso produce—indeed, they are—the continuous creation-destruction
of the universe, death exactly balancing birth, annihilation the end of
every coming-forth.”4
Shiva Nataraja, Brahmanical bronze, South India, twelfth century.
Photo reprinted from *The Arts of India *by Ajit Mookerjee, Thames and
Hudson, London. Indian artists of the tenth and twelfth centuries have
represented Shiva’s cosmic dance in magnificent bronze sculptures of
dancing figures with four arms whose superbly balanced and yet dynamic
gestures express the rhythm and unity of Life. The various meanings of the
dance are conveyed by the details of these figures in a complex pictorial
allegory. The upper right hand of the god holds a drum to symbolize the
primal sound of creation, the upper left bears a tongue of flame, the
element of destruction. The balance of the two hands represents the dynamic
balance of creation and destruction in the world, accentuated further by
the Dancer’s calm and detached face in the center of the two hands, in
which the polarity of creation and destruction is dissolved and
transcended. The second right hand is raised in the sign of “do not fear,”
symbolizing maintenance,
protection, and peace, while the remaining left hand points down to the
uplifted foot, which symbolizes release from the spell of *maya. *The god
is pictured as dancing on the body of a demon, the symbol of human
ignorance which has to be conquered before liberation can be attained.
Shiva’s dance—in the words of Coomaraswamy—is “the clearest image of the
activity of God which any art or religion can boast of.”5 As the god is a
personification of *Brahman*, his activity is that of *Brahman*’s myriad
manifestations in the world. The dance of Shiva *is the dancing universe; *the
ceaseless flow of energy going through an infinite variety of patterns that
melt into one another.”
Modern physics has shown that the rhythm of creation and destruction
is not only manifest in the turn of the seasons and in the birth and death
of all living creatures but is also the very essence of inorganic matter.
According to quantum field theory, all interactions between the
constituents of matter take place through the emission and absorption of
virtual particles. More than that, the dance of creation and destruction is
the basis of the very existence of matter, since all material particles “
self-interact” by emitting and reabsorbing virtual particles. Modern
physics has thus revealed that every subatomic particle not
only performs an energy dance but also *is *an energy dance; a pulsating
process of creation and destruction.
The patterns of this dance are an essential aspect of each particle
’s nature and determine many of its properties. For example, the energy
involved in the emission and absorption of virtual particles is equivalent
to a certain amount of mass which contributes to the mass of the
self-interacting particle. Different particles develop different patterns
in their dance, requiring different amounts of energy, and hence have
different masses. Virtual particles, finally, are not only an essential
part of all particle interactions and of most of the particles’ properties
but are also created and destroyed by the vacuum. Thus, not only matter,
but also the void, participates in the cosmic dance, creating and
destroying energy patterns without end.
*For the modern physicists, then, Shiva**’**s dance is the dance of
subatomic matter. As in Hindu mythology, it is a continual dance of
creation and destruction involving the whole cosmos;* the basis of all
existence and of all natural phenomena. Hundreds of years ago, Indian
artists created visual images of dancing Shivas in a beautiful series of
bronzes. In our time, physicists have used the most advanced technology to
portray the patterns of the cosmic dance.
The bubble-chamber photographs of interacting particles, which bear
testimony to the continual rhythm of creation and destruction in the
universe, are visual images of the dance of Shiva equaling those of the
Indian artists in beauty and profound significance. The metaphor of the
cosmic dance thus unifies ancient mythology, religious art, and modern
physics. It is indeed, *as Coomaraswamy has said, **“**poetry, but none the
less science.**”** (THE TAO OF PHYSICS BY FRITJOF CAPRA) KR IRS 9221*
On Tue, 9 Feb 2021 at 09:39, Markendeya Yeddanapudi <
[email protected]> wrote:
>
>
> --
> *Mar*Quantum Spiritualism-Vs-quantum Mechanics
>
>
>
> The air we breathe is already inhaled and exhaled by many other organisms.
> The air is continuously, smell and sense enriched because of the inhalation
> and exhalation by so many organisms. Where nature is free and lush, the air
> will be very healthily enriched, also emotionally enriched. Our basic
> perception
> mechanism,breathing,smelling,sensing,perceiving,understanding,interacting,rapturing,dancing,singing,painting,sculpting...,all
> get inspired by the great teacher the air, who makes living, into
> participation in the symbiotic expressions of art by all organisms of the
> biosphere. Art is the emanation from nature, just like gravity which is the
> emanation from the Space-time of the Universe, the world of Relativity.
>
> Loyalty to Newtonism and the Techno-logic is today’s fanaticism promoted
> by Science with the great unwanted load of technology round its neck. All
> Quantum Physicists are extra careful not to allow emotions, consciousness
> etc into the subject quantum mechanics; to keep the subject as mechanics
> only and for them the mechanical purity is most important. But their
> emotions against emotions, the fanatical infatuation with technology, the
> urge to keep the quantum only as mechanics, ultimately is resulting in the
> adulteration of hormones with the non emotional technology. The air inhaled
> and exhaled carries today only poisons created by industrial and urban
> pollutions. The air breathed in is deactivating the hormones, making them
> fail as the messengers to the cells.
>
> We eat food, which will be distributed to the 10,000 trillion cells within
> us and also to the bacteria involved in making the cells function. The
> bacteria are ten times the number of cells in us. Imagine the processes of
> transformation of the foods we eat into foods suitable for the cells and
> the bacteria to make them fit for their duty. There can be no study of
> Quantum mechanics, without including quantum emotions into the subject.
>
> Now to develop the TOE or the Quantum Theory of Gravity, they are trying
> various mechanical methods, the Strings Approach, starting with Quantum
> Mechanics and arriving at Relativity, or the Loops approach, starting from
> Relativity and trying to reach the Quantum mechanics or some other approach
> in all of which they do not want consciousness, emotions and hormones,---
> simply eliminate arts from science.
>
> Quantum mechanics is only for Robots but we need Quantum Spiritualism.
>
> YM
>
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