Visual Impressions (Οπτικές εντυπώσεις)

-From my text in the Logos (The Word).

Our observations are the cornerstone of our intrigue. It is through observation that the mind becomes aware of what is present before it, but beyond this rudimentary act of seeing lies a deeper phenomenon, which is a sequence of perception that reveals the exterior appearance of something existential in nature. This sequence is distinct from ideas or thoughts we retrieve from memory or conjure from imagination, for visual impressions arise from the immediate confrontation with reality, not the inner landscape of surreality.

Visual impressions manifest through consciousness, unveiling themselves either empirically through the senses or rationally through the mind’s discerning faculties. These impressions evoke a phenomenon in which waves of thoughts and frequencies of cognition transmit themselves into our conscious awareness. Their presence awakens the mind to something greater than the simple act of seeing, for it is an engagement with the underlying truth of existence.

What renders these impressions significant is their transformative capacity. They are not merely fleeting images, but conduits through which existence expresses itself. As the mind perceives these unique impressions, they take on a subtle form of existence within us, reflecting the vast possibilities of reality. These impressions possess an intrinsic attachment to the truth, not only in the sense of what is seen, but in their connection to the interchangeable operations of the cosmos and nature. They are genuine reflections of the unified whole that is (To Ένa) the One, manifesting in the finite moments of perceptual experience.

The nature of these impressions often seems esoteric at first glance, as if they bear some secret meaning reserved for the initiated mind. When contemplated with greater depth, their meaning becomes universal and philosophical. The observable paradigm of reality establishes the importance of the finite world and the world of forms and appearances, but simultaneously points to the infinite essence behind what is seen. The finite reveals the infinite through its beauty, its order and its enigmatic presence.

It is in the ordinary that the extraordinary is often found. When we gaze upon the natural world, we might see something remarkable hidden within the mundane, such as the patterns of formations in rocks, the billowing shapes of clouds, or the way light refracts through water. These impressions stir our imagination, prompting us to interpret images or meanings from what is otherwise inanimate. The mind seeks patterns, projecting significance unto the observable world. Yet this projection is not mere illusion; it is the mind’s attempt to harmonise with the cosmic flow that pervades all things.

These impressions, however, remain fundamentally subjective. Like a translucent film with an image imprinted upon it, they are visible only when light shines through, revealing their delicate outlines. The same impression may present itself differently depending on the observer’s angle, position or state of mind. No two minds will perceive the exact same image in the folds of a cloud or the contours of a rock. What one sees as an unusual face carved by time into the surface of a stone, another may see it as a meaningless crack. One might see a specific form of resemblance in the clouds, and another might see just the density of clouds. This subjectivity does not undermine the value of the impression; instead, it emphasises the particular relationship between consciousness and reality.

The mind’s interpretation of these impressions depends on its acute senses and level of awareness. This implies that not all perceptions are shared, for the mind perceives reality in accordance with its own depth of consciousness. The more conscious the mind becomes, the more refined its impressions will be. A heightened state of awareness reveals the interconnected nature of all things, and how every impression, no matter how subtle is a manifestation of the cosmic flow. This understanding draws us closer to the realisation that what we see is not separate from To Ena, but an emanation of it.

Once we acknowledge that visual impressions are unique and influential upon our thoughts, they become more than passive occurrences. They become windows into the remarkable wonders of the cosmos, nature and reality, as the external expressions of the infinite magnitude of To Ena. The mind that contemplates these impressions opens itself to the deeper truths that lie beneath the surface of existence. What begins as a fleeting visual encounter can unfold into profound revelations about the nature of life itself.

Art, in this sense, becomes one of the greatest expressions of visual impressions. The artist acts as both observer and creator, capturing the true essence of reality in external forms. The art that resembles reality is not confined to the material world alone. It conveys an abundance of possibilities of impressions distilled into colours, shapes and textures that transcend their physical substance. The artist becomes a god to his creation, shaping worlds with vision and ingenuity. His creativity flows through his perception, transforming the formless into form.

Unlike religion, Meleticism makes no assumption of miracles or supernatural occurrences. Miracles are not visual impressions in their truest sense, for they represent a deviation from the natural order rather than a reflection of it. They are projections of belief rather than conscious experiences. The impressions of the cosmos and nature are far more wondrous than any miracle attested, for they reveal themselves not through the suspension of the laws of nature, but through their emerging manifestation. The sight of a flower blooming, the undulating rhythm of the sea or the silent stillness of the night sky. These are the true wonders that unfold within the immense bounds of reality.

The greatest impression that exists to us is the remarkable nature of life itself. To observe the universe in motion in its perpetual cycle of creation and dissolution is to witness To Ena expressing itself through the language of existence. These impressions need no actual embellishment, for their beauty lies in their simplicity. A single moment of conscious observation can reveal more about the nature of the cosmos than the most elaborate myths or religious doctrines professed.

If we were to close our eyes and meditate upon the image of To Ena, we might imagine its emanations as light, as being an ethereal radiance that pervades all things. If we delved deeper into our consciousness, beyond the veil of imagination, we would come to realise that To Ena leaves its most lasting impression not in light, but in the external appearance of universal existence itself. The sun rising over the horizon, the gentle sway of leaves in the wind, the stillness of a stone resting upon the earth. These are the visible impressions of To Ena in its placidity.

Visual impressions remind us that reality is not simply what is seen, but what is perceived through the conscious mind. They awaken us to the deeper connections between ourselves and the cosmos, between the finite and the infinite. Every impression holds within it the potentiality to disclose something profound, if only we are willing to observe with a mind attuned to the flow of the universe.

In the practice of Meleticism, these impressions serve as catalysts for contemplation. They invite us to look beyond appearances and reflect upon the hidden order that permeates existence. What we perceive is but a surface layer, a veil behind which To Ena conceals itself. To contemplate visual impressions is to engage in the act of conscious discovery, which is a journey internal that ultimately reveals the external truth.

Thus, the art of observation becomes a philosophical practice. By sharpening our awareness and attuning our senses, we open ourselves to the profound wisdom contained in the smallest details of the world around us. The image of To Ena is not a distant abstraction, but a tangible presence, woven into the innermost fabric of reality. It is there in every shadow, every reflection and every fleeting impression that graces our consciousness.

When we allow ourselves to be fully present in the act of seeing, we become active participants in the great cosmic flow. The impressions we perceive are not separate from us, they arise within us as manifestations of the same eternal principle. In this way, visual impressions are more than mere phenomena, they are genuine revelations of To Ena, existing in the visible world and drawing us ever closer to the truth of existence.

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