View - Urantia Book Historical Society

ln religious
experience,
creqtures
vnakeclntactwiththeC,odwhois love,but suchspiritual
insightwustneverecliytsethe
intelligentrecognition
oftheuniverse
fact
of thepatternwhichisParddise,rflEuRANIA
BooK
,104:4,B
/1148
Pattern
clncef)ts
inTHEURANT|
AB}OK * * *
***
In the world at iarge_,-therei.s a glg.wing sense of_ ygtteyn, even of a purpose, transcending all
momentary events. Ideas such as "limifs t-o growth", uthe cufting edge"r-and',,paradigm slift"
exprery cognizance_ofsuch a.pattern within the processof evolution. As ie approa"h u n.ri era, ovr
thinking, our problem.-solving, and even our spiritual search must inclu de'iwareness of pattern.
only in The Urantia Book can we find a,comprehensiverevelation of the reality of divinely -planned,
projecting as material, mindal, and/or spiritual energies and pewading personalities,
llTr!$'
identities, entities, o1
(Foreword:w, En""gy and-pattern).As mastei original, ttrii
lgnlivfng matter
universal matrix lies.behind the cor,lfigurationsand individiality in all reproductions and"muliipl.r.
The.boot's explanations of paftern's mysteries are as conceptually unique to the revelation aj the
topics of the Supreme,the ascension career,or the morontia fife. pemERN, as a creation of the First
Source and Center, is a fundamental dynamic principle that generates, and also unifies, all of
exisfence. Even divinely-given personality form is the pattern aspectof a living being (paper<2: tz.z).
Coming to recognize this PATTERNof patterns - the all-pervasive signature of the Infinite in the
universes of time and space - can give us a restorative iense of oui own containment within a
wholeness ever growing toward perfection. Tracing relationships of beauty and harmony back to a
spiritual intelligence, creation's master designer, cingive us u deeper insight into the revelation of
cosmic reality. _ Our giganlic master universe, with all its interlockrn{ patterns, can be better
understood rboth as an actuality and a potentiality meaningful for our lives oilJrantia here and now.
***
DefiningPATTERN
dndp^tterns'* {. *
In the-Engfiqh langaage, upattern' and *patternf are words apt to be used interchangeably and
casually, with definition.and import taken for granted. Even the dictionary uses the sinluh" t.r*
upattern" for both duplicates
and source. The Urantia Book, however, clearly defines""pattern,
(singular)_asthe divine PATTERNemanatingfromParadise, while "patteins" (piural) urc ullcopies,
the reproductions derived from a source-matrix..__
Amgng countless patterns wittrin a vast perfecting
time/space process'we exist. Our anchor is a still, calm center of reality rthe eternal Isle of paradise.-
CONTEMPLANONS
*************
Theworldis charged,
withthegrandeur
0fGud,
Gerard Manley Hopkins
He fathers-forth whose beauty is past change..
Praise him.
Yes,
Codisa verb,
Gerard Manley Hopkins
thevnost
adive,clnnltinqthevasthdrvnonic
relrderang
theuniverse frovnunleashed
chaos
ofenergy
For each age is a dream that is ding,
Orone that is cotning to birth.
R.Buckminster
Fuller
Arthur O'Shaughnessy
lnthebeginning
wastheWord, , ,
,lohn 1 : 1
*
Word vnadg Tlgsh byKathreen
Raine
IN TT{ISPOEM WE CAN FIND:
Word whosebreath is the world-circling atmosphere,
Word that utters the world that turns the wind,
Word that articulatesthe bird that speedsupon the air,
An intuitive, aesthetic, & reverenfial
comprehension of PATTERIvI,
as spiritual
source, the universal matrix.
Word that blazesout the trumpet of the sun,
Whose silenceis the violin-music of the stars,
Whose melody is the dawn, and harmony the night,
Metaphors using patterns, the copies, to
offer poetic insight into greater patterns.
Word traced in water of lakes, andlight on water,
Light on still water, moving waterrwaterfall
And water colours of cloud, of dew, of spectralrain,
Appreciative obseruation of patterns and
beauty "written into" the gifts of nature.
Word inscribedon stone,
mountain rangeupon rangeof stone,
Word that is fire of the sun and fire within
Order of atoms,crystallinesymmetry
An understandirg that energr and order
are linked, in all thirgs great and small.
Grammar of five-fold rose and six-fold lilu
Spiral of leaveson abough, helix of shelli,
Rotationof twining plants
on axesof darkness andlight,
Descriptions of the universal geometry
behind, and patternirg, material forms.
Instinctivewisdom of fish and lion and ram,
Rhythm of generation in flagellate and fern,
Flashof fin,beat of wing,
heartbeat,beat of the dance.
Intuifion, growth, action, Iife itsell
seen as pulsing and ever on the move.
Hierqglyph in whose exact precision is defined
Featherand insect-wing,refraction of multiple eyes,
Eyesof the creatures,
oh myriadfold vision of the world,
Statementof mystery how shall we name
A spirit clothed in world, a world made man?
Syrnful, sight, and that which is seen
are unified in the poet's uision. . "
And we are led to see, to contemplate. "
PATTERN silent "Word" behind patterns,
creafion's gloty on display . . .
P_ATTERNS
OF THE UNIVERSE:Intensive.Program
suNDAY,AUGUST4/MONDAY,AUGUST5, 1996
MORNING STUDYSESSION.SUNDAY. 1O:3OA.M.- 12:OONOON
o Qoenina eona: John Creger,Berkeley,Califorrua
o 9oeakerlslide t.ooical oreeerrtations
on different- aE?eats of ?attern:
Part l, Stephen7*ndtr SanFrancisco, California
Paftll PatFearey,SanFrancisco,California
PartIII ChuckThurston,Boulder,Colorado
o Erief degcrivt,ione of followuo workehoos
o
Multi-imaae fglideElmueic\ eeauence;
"Transformations"(a work-in-prcgress contemplatingPATTIRN)
2:3O :4:3O P.M.
SUNDAY AFTERNOONHANDS-ON ARTS.W.
ORICSHOPS,
TO
THOSE
WHO
HAVE
ATTENDED
THE
MORNING
SESSION.
@EEN-ONIY
"TICKET'
TO PARTICIPATEIN EITHERONE
BRING T}IIS PROGRAMAS YOUR
OF THESEWORKSHOPS. SPACEIS LIMTED; FIRST-COMEFIRST-SERVED.
o
?aiterne ae ArAigLio9yr.nbols - with PatFearey
DUBOIS,ROOM# 11 (DOWNSTAIRS)
Making centered mandalas, that ancient spiritual alt form found in almost every culture,
we need not 'be able to draw'fo create soul-satisfoing collages of beauty and syrnmetry.
t
?atlernsinForm
* with ClaudiaAyers
DUBOIS,
ROOM# 30 (DOWNSTAIRS)
Exercisesdemonstratingnumber relationships,gnzzles,origami paperwork, investigating
universal and *sacred'geometric concepts,wiII stimulatepattern awareness(and be fun).
MONDAY EVENINGMUSIC WORKSHOP,8:3O- IO:OOP.M.
- KIDS TOO,IF WILLING TO STAYQUIEI & ATTENTIVE.)
c
?atberns and5ound - with Stephen7*ndt andl,arry Watkins
s.B.s.,RooM # 110 - (SAMEROOMASSUNDAYA.M. SESSION)
Listening to, critically appreciating, and enjoying wonderfnl world music of different eras.
Coorl$nator Pt Feereyl Vlannin6commlf,tee: S!ephen7*ndl; Larty Watkins & Claudia Ayers,
Sacramento,
Cg Chuck Thurstonl Computer art; Pat Fesrey& Chuck Thurstonl 5peaker-suworL
phoWTrapho: Pat feareyl Chuck thurstony Bruce Millen, Kingston, C)ntario, CanaAa; Mut,l-image
?roqramming& com?uter slide ?rocessinT:Chuck Thurstonl Technicalsu?port: David Kantor,
aI'he Dawningn by ConstanceDemby (CD: (Aeterna")
Lafayette,Cl; W:
ONPATTERN
* *
****
*.:.
*
* * * *
* * *
W ecravepattern.Weftndtt all aroundus,in sanddunes
and ytineclnes,
weavndgine
it whenwelookat
clouds
andstawgnights,
wecreate
andleave
it everywherelike
footprints.,.Habits,.,l)atterns
of condud...
reassure
us thatlifeis stable,
ordeAg,
andytred,ixable...We
relyon patterns,
we alsocherish
and,
and
advnirethevn...
as beautiful...
Diane Ackerman
...basicpattem-forming processes...,
operafing within strict limits, createlimitless uarieties
of shapesand harmonies...Why isn't the harmony that is apparent in natural forms
a more powerful force in our social forms? Perhapsit is becausewe have tost sight of
fhepwer of limits...In aII realms of our experience,we are finding the need to rediscoverproper
proportions. The proportions of nature, art, and architecture can help us...for thesi are
shared limitations that create harmonious relationships out of differences.
G y c i r g yD o c z i
Theprinciples
ofnumber
areattheheart
oftheuniuerse.
fhendture
and
character
of unity,twlness,
threeness...unde{ie
thewhole
of existence.
Philip Heselton
What pattern connects the crab to the lobster and the orchid to the primrose
and all four of them to me? And me to you?
Gregory Bateson
...nature
accll'nplishes
theseevningly
ivnpossible,
creating
forvnsthdtdreboth
sivnilar
and dissimilar,
united
anddiverse
dtthesavnetivne...
Gydrgy Doczi
we seepattern everyvuhere. Its discernment has practical ualue: a hunter
traces his prey through...the pattern of the spores; a farmer prognosticates weather
from...clouds...Decorative art, which is universally pructised and of the greatest antiquity,
shows how strongly people are disposed to the orderly arrangement of things....
Yi-FuTuan
...thenatureof theuniverse
delights
aboveallin changing
thethingsthat existand,vnaking
newlnes
ofrhesdmepaturn,fur everythingthat
eKists
istheseed
of thatwhichshall
clvnefrlvn it,
MarcusAurelius
...7he bodyrnind is a process... with seven million of our red blod cells blinking
out of existence every second, replaced by seven million more. Even our bones ate
fully rebuilt over a seven-year period. Just as in the dance of the goddess Shiva,
we are continuously creating and destroyng, creating and destroying.
Marilyn Ferguson
t
t
'.' t * THECIRCLE
0T ETERNIry* * *
.a.v.a,
O
-
.
a
The wisephilosopher
willalways
look
forthecreative
d,esign...
.
THEuMNrrABooK
pase
42/ z:T.S
behind,
and,
pre-existenttl,
alluniverse
ythenomena.
The eternal quest is for unification, for diuine coherence
page42 / z:7.7
]
Patternis a vuasterdesign
frovnwhichcupies
ayevnade.
Eternal
Pdradise
is the absolute
of patterns.,.
is an exhibit
Havona
of these
in actuality...
ytotentials
Thiscentral
planetary
favnily,..called
Hauona...
istheeterndl
coreoflterfection,
aboutwhichswirlsthc4t
endless
of universes
whichconstitute
l)rlcessiln
thetrevnendlus
evll;rtilnary
experiment,
theaudacious
adventure
oftheCreatlrSlns0fald, whoasrpire
to duplicate
in timeandto reprlduce
in space
thepatternuniuerse,
theidealof divineclvnpletr:ness,
Su()revAefrna|ity,ultimdterea|ity,andeternd||)er{ecti0n,,.-ffi
AII forms of force and all phases of energlr seem to be encircuited; they circulate
throughout the universes and return by definite routes.....Every known form of cosmic
reality has the bend of the ages,the trend of the circle, the swing of the great ellipse.
Pages123 and 1,25/ L1,:5.8& 1.t:8.2
Allbeings
in alluniverses
arefashioned
alonqthelinesofsovne
lne lrder
ofpatterncreature
livingonslynelneof thebillionworlds
ofHavona.
The spirit is the architect,
the mind is the builder,
the body is the material building.
Page157 / 74:4.8
Page484 / 42:12.5
There
is original
endowvnent
ofadapution
in livingthings
andbeings.
tnevery
- waterlal
- thereis
livingplant0raniwdlcell,in euer1
or spiritual
fuWorganisvn
dn insdtidble
cravingfortheattainment
of euer-increasing
of environvnentul
perfection
ddlustvnent,
lrganisvnaladaptr4tiln,
andaugvnented,life
realizdtion.
These
intervnindble
efforts
of dll
livingthingsevidence
theexistence
withinthevn
of aninnak striuing
for perfection.
The finite universe of matter would eventually become uniform
and deterministic but for the combined presence of mind and spirit.
The influence of the cosmic mind constantly injects spontaneity
into even the material worlds
pase
T3T
/ 6s:6.2
pageZ)ZS/ t91:6.r5
I
I
]
It is theintegrated,
functioning
oftheLifeCarriers,
theythysical
controllers,
and,the spirita$utants
thdt conditilns
theclurseoforganicevolution
ontheinhabited
rllrlds. Andthisis whq ev1luti1n
- isalwayspurplseful
0nurantiaorelsewhere
andneueraccidentnl.
Page730 / 65:0.4
Every impulse of euery electron, thought, or spirit is an acting unit in the whole universe....
the universe is a whole; no thing or being exists or lives in isilation.
Page647 / 56:10.14
Pattern
canbeprojected
asvnaterial,
spiritual,
or vnindal,
0r anqcovnbination
of these
energies.
lt canyteruade
personalities,
identities,
entities,
or nonliving
vndlter,Butpatternis
patterndndrevnains
lnly eryLare vnultiplied.,...patterns
areneverreflections;
?fittern;
- re()r0ducti0ns.
theyareduplications
Pages10 and 1,27/ F:Yl.lO and tl:9.5
..Havona containsthepatterns, thepattern studies,
for all phasesand forms of spirit artistry.
Page498 / 44:0.6
...theforcesof divineloveand thewaysdnd vneans
of divineadvninistrdtion
are dll interloclud,
in an efforttofaciliutetheddvdncement
of everyworthgintelligence
of everyuniverse
to thePdrddise
presence
oftheLtniuersalTather.
Page63 / 5:1.8
Your ascension is a part of the circuit of the seven superuniverses...in spirit and in status...
ever s-winging inward ...from the outer circuits ever ieare, the inner "intr", and some day,..
you shall stand in the divine and central presence.....
Pages63 and 64 / S:L9
Thephgsical,
intelledudl,
and sytiritual
dovnains
of uniuersdl
creation
are divinelyclrrelated,.
Page637 / 56:0.1
God's residence is central and eternal, glorious and ideal. His home is the beauteous
pattern for all universe headquarters worlds; and the central universe of his immediate
indwelling is the pattern for all universes in their ideals, organization, and ultimate destiny,
YageI27 / lI:9.6
Ihe forvndtion
of allmdtteris ontheorderofthe solarsqstevn,
P a g e 4 7 7/ 4 2 : 7 . 1
...the
vdstcreatilnlne gigantic
wheel,,
Page164 / l5:O.l
...auniverse()cr,ternof
intelligentlif
e...
Page173 / 15:6.1I
Godactsin accordancewith a well-defined, unchanging,immutable law throughout
the wide-spreadingmasteruniverse;but he mdifiei thepatterns of his action soas
to contribute to the co-ordinateand balancedconduct of eachuniverse.constellation.
systgmJplangtr,andpersonality in accordancewith the local objects,aims,
and plans of the finite projects of evolutionaryunfolding.
Page56 /
4:2.1
* * *
*******
ONTHESETHINcS
THINK
of
to therhgthvn
fieldswithinlargerfields,\ur brainsresplnd
W , ort oscillating
oftevnperature.
clllrs,tingchanges
0f light,specific
slunds,pulsations
Marilyn Ferguson
Every life is a point of view directed upon the universe.
Strictly speaking, what one life seesno other can.
Every...person, nation, or epoch, is an organ, for which
there can be no substitute, constructed for the apprehension
of truth... Without the development, the perpetual change
and the inexhaustible series of adventures which
constitute life, the universe. or absolutely ualid truth,
would remain unknown...
Jos6Ortega y Gasset
for rightprlplrtiln
for balance,
a strivang
searchi
of spiritual
this haseverbeentheheart
ynevnbers
luYinnerdnd outerlives,
of ourinnerlife,andbetween
theconstituent
between
ofBeinq.
dndtheC'round
lur tltr^lbeinq
andbetween
PhilipZaleski
The Mandala has appeared throughout man's history
as a universal and essential symbol of integration,harmony,
and transformation...A Mandala consists of a series of
concentric forms, suggestive of a passagebetween different
dim ensions...i t perta in s...to th e macrocosm and m ictocosm,
the largest structural processesas well as the smallest.
,los6and Miriam Arquelles
forvn.,.
andthesllarege,theall-encowp^ssing
ofheaven
sgvnbol
sign...the
is theoriginal
Ihe circle
Io$ and Miriam Arsuelles
No one can stop us from imagining another kind of rttture,
one that departsfrom the terrible cataclysmof uiolent conflict,
of hateful divisions,poverty and suffering.
Let us begin to imagine the worlds we would like to inhabit,
the long lives we will share,and the many fiitures in our hands.
SusanGriffin
...t0turn,tt turn, willbe lur deliqht.
round,'ight
we'llcome'
turning,
TilI byturning,
'simple Gifts"- Shakerhymn
*t*
READINc
TO(URTHER
A
* * * * * * *
"fyiendlg
. , , interchange
0fideas"(ureg:4
6)
T h e A q u a r i a n C o n s p i r a c y : P e r s o n a la n d S o c i a l T r a n s f o r m a t i o n i n t h e 1 9 8 0 s ,
b y M a r i l y n F e r g u s o n . J . P .T a r c h e r , L o s A n g e l e s ,1 9 8 0 .
READ IT AGAIN! And again. A revelation of new paradigns
in its own time, this book has Iost
none of its power or its relevance to the issues of transformation
in and for our worlcl . Like
The Urantia Book, its pattern for relationships
ernbraces the entire planetary family.
A B e g i n n e r ' sG u i d e t o c o n s t r u c t i n g t h e u n i v e r s e :T h e M a t h e m a t i c a l
A r . c h e t y p eosf N a t u r e .A r t . a n d s c i e n c e( A v o y a g ef r o m 1 t o 1 o ) , b y M i c h a e l s .
S c h n e i d e r .H a r p e r P e r e n n i a lN
, ew York, 1995.
This is the oJoy of Pattern'book
to read for a conplete understanding
of - and genuine
delight in - the mathenatical
principles
behind nature's nultiplicity
of forms.
Chock full
illustrations,
diagrams, quotes, this book reintroduces
sacred geometry to the worlcl.
of
A B r i e f H i s t o r y o f E v e r y t h i n g ,b y K e n w i l b e r . s h a m b a l a ,B o s t o n , 1 g g 6 .
Extraordinary
insights into evolutionary
about The Urantia Book's vast patterned
patterns can trigger new and deeper realizations
explanatory
structure.
A must fir serious reatlersl
At Home in the Universe: The Searchfor the Laws of Self-Organization
a n d S e l f - C o m p l e x i t y ,b y S t ua r t K a u f f m a n . O x f o r d U n i v e r s i t y P r e s s , 1 g g S .
This book colnes out of one of those scientific minds that sees the universe as soiritual.
It's interesting
to speculate whether computer-based
conplexity
studies and seirchin.g nay be
edging close io sone cutting-edge
scientific substantiations
for concepts in The IJraniia Eook.
B y N a t u r e ' s D e s i g n .A n E X P L o R A T o R I U M
Book,by patMurphy, william Neill,
a n d D i a n e A c k e r m a n . C h r o n i c l eB o o k s ,S a n F r a n c i s c o 1, 9 g 3 .
Sinilar information
is available in A Beginner's Guide. Fractals, and S.vmmetr.v. but nowhere
can you find nore elegant pattern-in-nature
photographs
or rnore eloquent text. Definitely
an inspiring
gift for families
that include photographers,
campers, readers of good books.
D a l e S e y m o u r P u b l i c a t i o n s .P . O .B o x 1 0 8 8 8 . P a l o A l t o . C A 9 4 3 0 3 ; 1 - 8 O O - 8 7 2 - 1 1 0 0 .
A GOLDMINE
for PARENTS & TEACHERS!!!
Catalog of educational
resource naterials,
for
grades K-8 & wonderful
for adults also. Books, posters, puzzles, garnes, to enjoy & Iearn
science, math, & arts concepts. Home page address will be: HTTP://WWW.AW.COM.DSp/
T h e D i s c o v e r y o f P o e t r y r b y F r a n c e sM a y e s . H a r c o u r t B r a c e J o v a n o v i c h , 7 g 8 7 .
The author says she had to take a poetry class in college, and discover A.E. Housman,s poen
called aLoveliest of Trees', in order to be astruck that I had lost nineteen years of seeing a
cherry ttee in bloom,'
Her book considers poetry - othg- language art" - at both aestheiic
and analytical levels. She says "learninS; to see precisely how words work teaches you how to
cone closer to what you want to write, whether it's a newspapet article, a law brief, a cost
estimate, or a Ietter home."
{Or, for closely rereading
words-as-poetry
in The Urantia Bookl)
F r a c t a l s : t h e P a t t e r n s o f C h a o s - D i s c o v e r i n ga N e w A e s t h e t i co f A r t . S c i e n c e ,
a n d N a t u r e , b y J o h n B r i g g s . S i m o n a n d S c h u s t e r ,N e w y o r k , 7 g g Z .
It could be that only now - with recently-discovered fractal geometty showing us that there
are smaller and snaller self-similar
wrink!es within wrinkles, branches witiin branches, in
nature's tnany rough and wiggly forms - can we really begin to understand The IJrantia book,s
pithy and sometimes brief descriptions of the mysteries in universe pattern principtes ana
structures. This book has both visual beauty and clearly understandable detailed information.
J g u r n e y si n M i c r o s p a c e ,T h e A r t o f t h e E l e c t r o ns c a n n i n gM i c r o s c o p e ,
b y D e e B r e g e r .C o l u m b i aU n i v e r s i t yP r e s s N
, ew York, 1ggS.
Images and descriptions of a beautiful nicroworld
we cannot visit in any other way - even
with a powerfal optical microscope - because it is so tiny in relation to our hunan scale.
L e a r n i n g b y H e a r t : T e a c h i n g st o F r e e t h e c r e a t i v e S p i r i t , b y c o r i t a K e n t
and Jan Steward.Bantam Books, 1992.
Corita, a nun when she was an art teacher at Imrnaculate Heart College in Los Angeles,
may well have been the quintessential celestial-artisan-on-earth,
teaching her stident:s high
,,the abiliiv
playfulness
and joy in the visual arts - and in their lives. She called creativitv
to make connections and to play around with naterials
and ideas.'
Artists, wiiters, actori,
whatever your experience level, do treat yourselves to this bookl
M a n d a l a , b y J o s 6 a n d M i r i a m A r g u e l l e s . S h a m b a l a ,B e r k e l e y ,C A , 7 9 7 2 A N D 1 g g S .
This is still
the classic
work
on the centered
desiS;ns of sacred intent
found
throughout
history.
P a s s i n q S t r a n q e a n d W o n d e r f u l : A e s t h e t i c s .N a t u r e . a n d C u l t u r e ,
b y Y i - F u T u a n . K o d a n s h a I n t e r n a t i o n a l , N . Y ./ T o k y o / L o n d o n , I g g 5 .
A marvelous book, on beauty as essential both to individual
Iives and to civilization,
relating
aesthetics to social norality.
It stretches the mind and inspires us to open all the senses.
The Power of Li{nits: PrqportionalHarmoniesin Nature. Art, and Architecture,
by Gybrgy Doczi. Shambala,Boston, 1.994.
An advanced, but most rewarding,
detailed study of harmonious
visual and musical
proportions,
sinilarities,
and patterns,
filled with diagrarns showing how golden rectangles
and golden spirals underlie measurernents - such as a frog form's similaity
to a humai body.
P o w e r s o f T e n : A b o u t t h e R e l a t i v eS i z e o f T h i n g s i n t h e u n i v e r s e ,
by Philip & PhylisMorrison and rhe office of charles & Ray Eames.
ScientificAmerican Library, 7982.
A pictorial
tour of the universe, from quasars
subject in steps changing tenfold in nagnitude
to quarks, zooning
out from
each time. Mind-boggtingl
and in on a human
(AIso on video...)
S i g n s o f L i f e : T h e F i v e U n i v e r s a l S h a p e sa n d H o w t o U s e T h e m ,
b y A n g e l e s A r r i e n . A r c u s P u b l i s h i n g ,S o n o n l a ,C A , 7 9 9 2 .
If you play
information
test, which
fanily
garnes with teenagers, you'll enjoy this book. It not only has interesting
about basic archetypal shapes, but also shows how to use them in a psychological
is fun to take - and, with no right or wrong, can tell you a lot about yourseli.
S o p h i . e ' sW o r l d : A N o v e l A b o u t t h e H i s t o r y o f P h i l o s o p h y .b y J o s t e i n G a a r d e r ,
B e r k l e yP u b l i s h i n g N
, Y C , 1 9 9 6 . o r i g i n a l l y p u b l i s h e di n N o i w e g i a n , 1 9 9 1 .
A real teaching deli5;ht, well worth reading aloud to young people, this book is a bestseller
numerous countries.
Its joy in SOOO yeats of evolving continuity
of thought is its pattern.
in
S y n c h r o n i c i t y : T h e B r i d g e B e t w e e nM a t t e r a n d M i n d , b y F . D a v i d P e a t . B a n t a m , 1 9 8 8 .
The Urantia Book presents pattern as that grea't holistic source-fount
which provides meaning
for every level of existence as well as aII conplex
branching
diversity.
This-book is fitled wih
parallel insights to augnent our contenplations
on IJB references to pattern and wholeness.
s y m m e . t . r yA
: unifying concept, by Istvan and Magdo|na Hargittai. shelter
P u b l i c a t i o n sB, o l i n a s ,C A , 1 9 9 4 .
Cramned
with illustrations,
photos, geometric
diagrams,
and interesting
explanations,
this
beautiful and exciting book cannot help but increase our delight in the visial patterns all
around us. You night consider giving a copy to an artistic teenager or college art major.
W a l k i n g a S a c r e d P a t h : R e d i s c o v e r i n qt h q L a b y r i n t h a s a S p i r i t u a lT o o l ,
by Dr. Lauren Artress. Riverhead Books, New York, 1ggS.
An extraordinary
Srassroots process began a few years ago at Grace Cathedral in San Francisco,
with the installation
of a Iabyrinth
Iike the ancient maze on the floor of Chartres, symbolizing
the pilgrins'progress
on the path toward the divine.
Now, the construction
of Iabyrinths
is
occurring
in numerous
churches all over the world.
In the neditative
walk, ueach of us brings
different
raw material to the Iabyrinth...our
unique hopes, drearns, history, and Iongings of ihe
s.oul'and moving through the naze to the center, then out again, can nh"lp us see our lives
in context of a path and pilgrimage.o
People who have becone Ieaders of wiat is now a
rapidly-growing
movement foresee Iabyrinths
becoming 21st-century
spiritual
tools.
The PATTERN
of Patternsin The Urantia Book
by StephenZendt
PATITRN,ASTTIEMASTERDESIGN,REFERS
TO A SYSTEM
SOURCf,=1
RELATIONSHIP=2
$YSTEM=3
UNIVERSATFATHER + ITTRNALSON + INFINITESPIRIT
CIheTrinity hadto comeinto existence,
in order for there tobe a system)
PATTERN
AND CREATION
PATTDRN=I
CRXATION=Z
UNIVERSE=3
THE ISIE OF PARADISE
is the absolutePATTERN,
and is alsothe nucleusof the ULTIMATON,
therefore:
PATTERNpervadesall SPACE...
TIME gives pattern to ETERNITY...
PATTERNgives purpose to INFINITY...
SUPREME
EVOLUTIONis the maximum utrliz.ahonofpotential in space
and.trme.Human destinyis positedon the achievementof maximum social
utility. One strivesto attain self-revelationof potentialsrealiz.ed.
TIMf, is the sequence
of evolutionalyevents:beginning,climx, termination.
Unfolding moftal potentialsrequfueexperiencewith reality in time and space.
Human free will conformsto the wisdom of experienceonly after realiznhon
of errorcin judgmentand choice.
THI FATHE&MASTEROFAtt PATTERN
AND PERSONALITY,
must
be rcalizedin worship andidealizedin decisions.loyalty and duty follow
upon wisedecisions.
LOVEis sharedwith the family of Father-fellows,
privilege
asMta
and pleasure.Challenges
arisein daily life, in encounterswith others
orphanedby failure to contactthe sourceof wisdom andthe objectof worship.
PATTIRNappliesto origin, not to outcome. Patternis sourceand someday
may becomedestiny,but the presentuniversaloutworking of time and spacn
is evolution and gnrwth.
PATTERNIN NATURALLANDSCAPES
by Bruce Millen
Paradise is the absolute pattern.
This pattern canbe projected as matefial energy.
As material rcality unfolds under the confrol and interpretation of a hierarchy of inueasingly
fallible beings, Paradise perfection is filtered down/diluted to the point where only faint
echoes of the original paltetn remain. I would like to think that I am detectrng these echoes
when I sense visual beauty in a natural composition.* It may be a balanced communify of
plants, interdigitated mosses,Srassesand shrubs growing in responseto genetic messagesand
v"arious tropiuns, and countefualanced by subtle interactions between neighbors. Or, it may
be the relationship of a tree, a rmk and an expanse of drifted snow, each element being
where if is and how it is as a result of fhe long-term inferacfive evolutions
of the biology, geology and climate af the arca.
As an aspiri ng Ur anttan landscape photogr apher, I try to perceive
and record natural beauty , that pale reflection of perfect pattern.
Unavoidably, edifing is inherenf in phofographic composition,
so I, as a boftom-of-hierarchy matefial being, get
afinal kick at the perfection filtering can.
A lot happens to Paradise pattern
on the wayto becominga
35 mm. transparency.
* The word "patternr'used in its physical sensej can
be qualified in diverse ways regalar, random, repeat, geometric/linear, positive/negative, etc. Within this
context, it would seem that aapaftern"refers to the spatial relationship of objects.
The inherenf beaafy of a natural composition tends to be a function
of the aesthefic patterning of compositional elements.
IDEAS FOR EXPLORING PATTERNS AT HOME
Ta?,elongnaturewalk,&with
glaes,toer<aminetiny
amagnfuing
weedeand florets.
Discussroot worde......Look
for Vatternein Wms (in borhcorltent&form)......
Get a
FunWilh?altnrns rubberetam?kitfromlheMaf,ro?olttanMuseum
of Art,fortamily
fun& crealivity......UsetheTriadcardetofocuson?rofoundUrantiagookconcerye.
Learn,&teachothers,theTransformationgame......
9ee1.....
Heart.....Dancet.....1ingt
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PATTERNSOF THE UN IVERSEINTENSI\A, ICg6, MANDAIA
INFORMATIONFORFELLOWSHIP
AND ANY
FILES
INTERESTED
CREATIVE-APPROACH
FACILITATORS,
FROMPATRICIAFEAREYINTENSIVECOORDINATOR
WORKSHOP
(This multi-facetedlntensiaeutas
conceiaed
asA PROTATYPEFOR TREATMENT, intellectually,
spiritually, audio-aisually,and artistically,OF CERTAINOTHER GRAND THEMES IN THE
URANTIA BOOK suchas theSupreme,theascension
cAreerr
theMother Spirit, etc, Hopefully,our
PatternIntensiuecornponents
mayLrelpto triggerideasfor inspirationalpresentations
on othergreat
thcmes.Thisparticularworkshapwas tlteoiginal seedideafrom which the totality unfolded.)
One of the two hands-on workshops offered as part of the Pattern Intensive at IC96 was on
mandalas. Thesecenteredradial images can be found in nafure at every level * in the atom's
forrn; as snowflakes, flower forms or seed patterns in frui! as the planetary circling of the sun.
Human representations of such pivotal imagery have existed throughout history, most often as
spiritual expressions (as in Christian stained-glass rose windows, the ]ewish Star of David"
elaborate Tibetan mandalas, or our own three concentric circles, so meaningful to dedicated
Urantia Book readers'- and so very old even in evolutionary history).
Our artistic aim in the aftemoon workshop was to leam something of the design dynamics
involved and then to create mandalas as personal expressions of a spiritual art forrr and/or a
meditative exercise. Our art medium was collage, one of the best approaches for beginners, since
results can be far more quickly visualized and modified in-progress than with paints or colored
pencils. (The creation of a mandala can be both satisfying tL the novice, with pieasing visual
results, and deeply challenging to the experienced artist, to perceive more and more subtlety as
one works. No other artistic project offers the beginner an easier way to plunge right in. In a
way, the symmetrical mandala matrix offers a color-between-the-lines format * but, we also
find it meaningful at the deepestlevel of the soul.).
To save workshop time spent searching through brlky piles of magazines (impractical anyway
to bring to a conference),to minimize a mess interfering with acfual creation, and to pose a design
problem to solve by working within some dictated limitations, participants were given folders
with materials already prepared. (Pat Fearey, workshop facilitator, had organized these at home,
with some help from other local readers in providing clippings from magazines.) These folders
contained pieces already cut from high-quality color photos of forms and patterns in nature,
supplemented by small pieces of art papers, such as metallic color foils and printed color
gradations. Only images of nafure were used in the photographs, so that leaves, rock striations,
sunsets or clouds could all become evocative and meditative sourcesof irupiration. Each folder
had sufficient quantity to offer a wide choice (extra unused pieces could be taken home to use later
or turned in). Participants had also been provided with good-quality heavy blank paper, plus
items on loan, such as glue sticks, pencils, scissors,and protractors, etc.
Our spirifual and intellecfual objectives were to become more aware of mandalas as visible
footprints of divine order, as communicative archetypes, and as symmetry expressive of the
human longing for ever-growing wholeness. As in the morning session,there was time only for
MANDAL.TS, CONTINVEDI
the briefest reference to a historical overview -- a short introduction by the workshop facilitator
and a written handout suggested that personal reading and artistic experimentation could
continue at home, not only individually, but also as a family pursuit (and one fuirtily group
attending decided they would do just that, as they had such a good time working together).
It was suggested that participants cooperate loosely as parbrers, if they so desire4 sharing
their o$ectives, once the folder material suggesteda possiblecreativelspfuitual theme or tone,
"mirror-itrrage" view) offering feedback as the
with the person acrossthe table (who had a
other's work progressed. It turned out that people becameso deeply absorbedthat most ended
up working singly, in silence. Later, we propped up all the mandalas side by side against the
wall and stood in front of them (they were marvelous!), while alnnosteveryone took fums
sharing their intention and experience,explaining the personal meaning that had emerged
during the process. That in itself becamea profoundly satisfying experience for us all.
We also, during this wind-up sharing period, invited participants from Claudia Ayers'
geometry-oriented Pattern-Intensive workshop acrossthe hall to bring their work to show us.
Their results were equally exciting. My two big regrets, as facilitator, were that we had no
camera or camcorder to document that final sharing, and that I had made no advance provision
for exhibiting the finished artwork --- it was so good that the entire conference should have seen
"non-attists" among us. We tried
it as a body of work, to encourage the many self-deprecating
to get €mannouncement made, to round up the individual pieces for showing them at the fair,
but somehow that got overlooked.
For me, as facilitator, this idea evolved from leading small art workshops at local reheats,
where we have created mandalas with collage and rubber stamp images, sometimes working in
pairs on the same image. A major result of this creative process seemsto be that working with
the mandala has a life far beyond this IC96 intensive. Mandala figures appear to be natural
artistic symbols of the Urantia Book's tremendous vistas of wholeness at the macro and micro
cosmic levels.
One local reader who did not even attend lc96,brt attended thesereheat sessions,led a
mandala-collage workshop, reportedly fantastically successful,at a SpiritFest conference (very
kindly attributing the idea to me. I was very pleased, becausethose retreat workshop experiences
had not only helped her overcome a childhood discouragement over creativity, provoked by
unaware adults, but had begun to bring out her natural abilities as an art teacher.). And another
artistlteacher with whom I had shared my ideas and handouts led a different kind of mandala art
workshop at the Vancouver summer conferencein1997,I was told -- he had people going out in
nature to gather the materials to use in their collages (leaves,twigs, branches, grasses,etc. On a
flat surface, these can become a three-dimensional bas-relief).
I could visualize, within an intensive on the Supreme, a mandala art workshop using people
photos, perhaps combining color Xeroxes of family pictures brought from home with magazine
photos - of people from around the world, of the world in space,of starscapes,cathedrals, great art
from history, etc. This would be a much more difficult and risky design problem, for both the
beginner and the experienced artist to bring to a visually satisfying conclusion. Such a project
should have more workshop time and carefully-thought-out parameters, instructions, and
MANDAL,AS, CONTINUED:
materials, prepared in advance, which would be conducive to synmetrical symbology, if mandalas
are the theme. (Perhaps the analogy of the twelve gates to the city could be useful -- suggesting
that participilts visualize someone whose spfifual path, leading to God at the center, has entered
at the exact opposite to one'$ own entrance on the clock-face, and whose contributions to the
Supreme are an equally-valid integral part of the whole, regardless of one's own comprehension
thereof. Whatever spiritual/intellectual idea is considered to be the basic-bedrock for a project, it
must be clearly held in mind by any facilitator, even iI it is never mentioned per se. In order to
foster awareness of archetypal meaning and to illuminate core concepts in The Urantia Book, the
design format and the presentation of materials in any such hands-on spiritually-creative 1
creatively-spiritual workshop should arise from that idea not primarily involve technique.)
A FOOTNOTEABOUT MANDAL,A5THAT MAY INSPIRE
soME VB-OR|ENTED
TH|NK|NQ:
Duing thepastyeaL&bookcallcdThePattern,by LynnclnireDennis,hasappeared.As a consequence
o.fa near-dcath
experience,
a rnostinterestingmandalaimngewith manyaariations,dependinguponone's
aiewpoint@othphysicaland intellectual),hasslowlybeendiscLosed
to her. Shebelieoes
it is an imngefor
healin-g
and promotingpeace,sinceit projects,within its own extraordinaryunity and unificd dtaeriiiy,
aisualsuggestions
of symbolsof all themajoreaolutionaryreligionsof theworld, aswell as theatom. it
seemsto beat theoery leastthree-dimznsional,
and theideaof an "ultimatonic" symboloccarsto me.
For us, as UB readers,to build modelso.fthree-dimensional
mandnlas,basd on our rmealcdknowledge
aboutspacennd timein their relationto thespiritual,might well inspircsomesolid insightsand/arproaide
teachingmaterinls,it seemsto me. (Imnginingthe threeconcentriccirclesin 3-D, oneses that any x or y
--whereasthebeautifulIC 9:
axis view wouldalwaysdispW thesamenestingspheres
__\n 3D
Yg:!:igry!!V_
SteveMclntosh,a 2-D mandala,wouldproducedifferente.ffects
if seetfitiiaief,aTfi.f1erewx or y angrcs.r
notethat Ms Dennis'patternrotationsproducefficts bothfluid and changing.To mc, thechangeless
three
concentriccircles*em a tnuchmoreaccuraterepresentation
of "THE" Pattern'sSourceand Cnnter,the
inmostfount .forall patterns.)
Theseidle thoughtshaaenot suggested
any specificaction. But I dp notethat our readership
produces
masses
-of printoutswith pro* to read(inear-thinkingpresentations
on 2-D surfaes). This only one
kind of thoughtfuIapproaehto therwelation -- is in contrastto experiences
suchas theliaing kinetic
three-dimensional
realityof SaraBlnckstock's
memorable
ICg6 lerusalemmnrketfor thekids. I urgeour
artists,scicntists,andfamiliestofoster,throughmoperatioe
the
facilitationof nnny handsonexperiences,
tth Clnudia'smathcreatiaityneedcdto constructthewolltlwg se!. We soughtto dosome
au)areness
workshopand mi
wish
participantscouldhaae
experience
d both. Scheduling
put us
progrnntat thesametime.
OTHERCOMPONENTS
OFTHEPATTERNINTENSI\AINCLVDED,IN THE MORNINq
OPENINq PROqRAM: SPEAKERS,
SPEAKER-SL/PPORT
5L|DES,INSPIRATIONALMULTIIMAqE (THE5HOWTRAN5FORMATIONS"),LI\/E
MVsIC. AND IN THE EVENINQ:A
MUslcAL-LlsTENlNq PROqRAM. DESCR|PT|ONS
OFTHE5EAREPRESENTED
SEPARATELY.
HANDOVTs, WITH PROqRAMS,QUOTES,BTBLIOqRAPHYETC,,AS
BEAUTIR/L45 WE COTILDMAKE THEM, WEREPARTOF EACH MODULE.