Vortex Energies

Nature appears to move, grow and transfer energy through spiralling motion. From the largest galaxies to the whorls on the tips of our fingers, the universe vibrates with this incessant pattern.  In Blue Eye, Scott Carty is taught the circling/spiralling art of Baguazhang by Boris as a meditation, allowing him to enter the zone where he can better access his unconscious. Carty, though, also intuitively understands the martial techniques embedded within its moves.

Baguazhang, of all of the niejia, best demonstrates these spiralling aspects of natural forces and essentially mimics them, as the planets revolving around their axes and the sun. Interestingly, Venus transits the Earth’s orbit exactly five times every eight years and transcribes a perfect pentagram (an ancient symbolism of the feminine). This sacred geometry is depicted superbly, in photographic form, in Prince Charles’ book and film Harmony. http://theharmonymovie.com/

Vetruvian Man exhibiting the divine proportion (Golden Ratio) of human anatomy.

Vetruvian Man exhibiting the divine proportion (Golden Ratio) of human anatomy.

Vetruvian Man exhibiting the divine proportion (Golden Ratio) of human anatomy.

Vetruvian Man exhibiting the divine proportion (Golden Ratio) of human anatomy.

The Rose petal pentagram traced by Venus’
8 year path across the Earth’s skies.

The Rose petal pentagram traced by Venus’ 8 year path across the Earth’s skies.

It also may add substance to the Taoist intuitive world view and its underlying principles as laid out in the I Ching, namely; the Wu Xing – the five phases (elements) and the Bagua – the eight directions of energy.

In Taijiquan, the Silk Reeling Exercise (Chan Sui Chin) develops subtle spiralling within each movement to harness the ground’s energy and create a resonance, which not only stimulates qi flow – and therefore health, but is essential in the martial arts when defending and neutralising an attack.

In mathematics, the Fibonacci series, http://en.wikipedia.org/wiki/Golden_ratio  named after the 12th Century mathematician (but not claimed by him – it sprang from ancient Egypt and the later Pythagorean mystery schools) demonstrates that when a number is added to the previous number, the resulting sum has increased by an amount known as the Golden Ratio or φ. i.e.  1+1 =2, 2+1=3, 3+2=5, 5+3= 8, 8+5=13…and so on.

We can see here, again, the coincidence of the numbers 5 and 8 reappearing, as in the I Ching. The Golden Ratio seems to repeat itself in both geometrical and spiral form and, pleasing to the eye, was (and still is) utilised by artists, architects and sculptors in their creations. Attempting to rationalise all this in Jungian terms, there appears to be an underlying (mathematical) pattern or archetype, organising nature and life.

In recent times what apparently was thought to be the chaotic spiralling patterns of the natural world are now understood to be a self-similar structuring or fractals. Almost every natural process, including the formation of stars, the structure of clouds, the flowing of water, formation of crystals, inter alia, are fractal in nature. These fractals are composed of forms that create self-similar patterns, many with the Golden Ratio, being the same from near as far and exactly the same at every scale. They echo the mystical in nature and life – “as above so below”.

Part of the practise of the neijia, whether consciously understood by the practitioner or not, is to maintain the Golden Ratio in the body’s postural forms and spiralling movements/techniques, so that each becomes a fractal of the whole.

In modern times, a number of inspired inventors– Tesla and Schauberger, amongst others – took these spiralling /fractal energetics to the extreme, claiming to demonstrate technologies exhibiting phenomena that defy scientific norms and which have been refuted by the mainstream scientific community.

In Blue Eye, Carty is exposed to one such technology: a vortex implosion machine which forces Baikal’s water through extreme spiralling and anti-spiralling cycles, unleashing the locked-in energy of the atom in a low energy nuclear reaction. The result is the production of overunity or free energy, antigravity effects and the transmutation of matter. While Carty rejects this is possible, he is not able to deny what he is witnessing. Both Lubimov and Boris explain to Carty that the machine is mimicking the planet’s energetic processes, upon which life depends – a fine balance which cannot be harnessed in bulk by mankind. Basing their theories on Taoist and fractal concepts, they elucidate that like the human body, there are only a small number of key acupuncture-points on the Earth’s surface (Baikal is located at one of these) where overunity can be accessed to produce limitless power. The caveat, though, is that this vortex technology must remain an enigma because if it falls into the hands of any one power, it would be used for the wrong means, irrevocably altering the paradigm that we comfortably exist within. Carty is left holding a poisoned chalice, knowledge of a technology that could change the world and yet not able to tell anyone or have any means of reproducing its effects!

While I cannot claim to have seen or witnessed such technology or, as a former engineer/scientist, will believe hearsay, I cannot deny that there is something to these claims. Perhaps it will require the next generation of scientist, engineers and pioneers working at another level of consciousness, to understand how these phenomena are operating and if they can be sustainably harnessed.