MAYA-GAIA INTRODUCTION & SITEMAP         page initiated: 07 11 2011

Note: My maya-gaia website, evolving since 1997, is a chronicle of my passing all considered opinion
through the lens of my Nirvikalpa Samadhi with both an open-mind and healthy skepticism.

Contemplating an Enigmatic Synchronicity of My Chancing on
a Rare Blue-Green Feather

Synchronicity A term popularized through the works of Carl Jung. Jung defined synchronicity as the "occurrence of a meaningful coincidence in time" (de Laszlo, 1958, P. 282). Synchronicity accounts for striking and apparently inexplicable occurrences that link two or more events, usually an inner thought or feeling and an outer event. It manifests in significantly related patterns of chance that are connected through the sharing of a common meaning, not because one event caused the other. Synchronicity can take three forms:

1. The coincidence of a subjective psychic content with a correspondingly objective process that is perceived to take place simultaneously.
2. The coincidence of a subjective psychic state with a dream or vision, "which later turns out to be a more or less faithful reflection of a 'synchronistic' objective event that took place more or less simultaneously, but at a distance" (de Laszlo, 1958, p. 282)
3. The coincidence of a subjective psychic state with a dream or vision in which the "synchronistic" objective event perceived takes place in the future and is represented in the present by the dream or vision.

Holographic Archetypes - Synchronicity When Cosmos Mirrors Inner Events by Iona Miller, 2012 - A Pan-Disciplinary Exploration of the Dimensions of Psychological Meaning. The phenomena which Jung struggled to understand were the “meaningful coincidences” of certain contents of dreams and fantasies - for example, the dream of a fire, an automobile accident, a visit from a long- absent friend, an encounter with a wild animal, etc. - with a physical event - an actual fire, accident, visit, or appearance of the dream animal. No physical processes can be reasonably held to provide a causal connection between such mental and physical phenomena, but the extraordinary connection through meaning, which invariably has a powerful effect on the individual involved, led Jung to formulate the idea of an acausal connection which he called, ‘synchronicity’. (Hamilton) Synchronicity explores the borderland between meaning and spacetime, where chance meets necessity, when external and internal circumstances align in meaningful coincidence. It links the observable and unknowable, the effect of the particular and specific with the universal. In this nonlocal effect, certain qualities manifest relatively simultaneously in different or proximate places. It is a parallelism that cannot be explained causally. Is it an invisible field effect linking multidimensional spaces?

Sixty Years Later: The Enduring Allure of Synchronicity -Extended excerpts and references to PDF download. Journal of Humanistic Psychology, 2012, by clinical psychologist Dan Hocoy, PhD Saybrook U. Oakland, CA whose interest in the subject of synchronicity is the result of many numinous, personal experiences. Because of the importance and relevancy of his work to a better understanding of many of the extrapolated concepts presented in my Anthropic Trilogy, the revew presents some extended excerpts and references to encourage readers to access the full PDF download.
Abstract: [2012] marks the 60th anniversary of Jung’s (1952) concept of synchronicity; a survey of popular books and academic publications indicates that the idea has never been more popular. The unique longevity and cultural impact of synchronicity, compared with other notions of its era, is worthy of discussion. This article explores the multiple factors [trans-psychology; quantum physics; multi-cosmology; implicate reality; nonduality] that seem to have synergistically converged to maintain its relevance. Human existential needs for meaning, connection, and agency appear to make up the "fertile ground", while personal experiences of meaningful coincidences, especially profound and numinous ones, seem to constitute the "seed" of belief in synchronicity.

Revelations of Chance Roderick Main examines a primary concept of C. G. Jung regarding meaningful experience. - Chapter 3: The Spiritual Dimension of Spontaneous Synchronicities; The spiritual concepts whose relationships to synchronicity I shall discuss are numinosity, miraculousness, transformation, unity, transcendence and immanence, providence, and revelation.

Coincidence Studies Psychiatric Annals, 2011 by Visiting Professor of Psychiatry at University of Virginia, Dept. of Psychiatry & Neurobehavioral Sciences Bernard Beitman, MD A refining of the broad concept of coincidence into the historic variety of forms that include synchronicity, serendipity, seriality and a coined additional term: “simulpathity”. Our perceptions of coincidence emerge from swirls of information in our minds that match events in our surroundings. Like two dials spun by separate hands, mind and environment briefly coincide and produce an unlikely correspondence. The correspondence strikes us because it is unusual, often surprising, and sometimes wildly improbable. The teleogical implications are also considered.

My Synchronicity Anecdote

My daily habit of walking to the library takes me through an alleyway alongside a shopping center. Today was breezy and the wind was funneling through my path where I saw a feather briefly come to rest on the pavement. As I reached to pick it up, a gust sent it flying and I had to chase it several yards before I was able to catch it before it became blown out of sight of my route. While examining it I was intrigued because I could not recall ever seeing a feather with this particular shade of blue. The most common "blue" bird in my locality is the blue jay but it's hue of blue would fit the "marine blue" of artist colors and is a darker shade. I have seen, studied and photographed many Florida scrub jay - a rarer colonial bird with an even more subdued marine blue hue. But it seldom strays more than a few miles from its scrub habitat and the nearest documented colony is over thirty miles away. On closer inspection and turning the feather at different angels, I realized the color changed depending on the view angle and whether it was in shade or bright sun. My first impression that it was a blue feather came while clouds caused an overcast. Now with the sun out I could see the colored portion actually only had a narrow band of blue that transitioned to a definite cyan-green (close to "veridian light" in artists colors) that I had never seen in any of our native passerine (perching) species- the most likely source of feathers found in this location.

Then I noticed that a conspicuous area of the transition of cyan-green coloration exactly matched the color of the shirt I was wearing. I had always thought of it as my "green shirt" based on only viewing it in indoor lighting when I was not wearing it. Now holding the feather against it I realized my shirt in sunlight actually was a perfect match for a portion of the cyan-green in my specimen.

    Full sunlight (shirt back.)                   Overcast (shirt back.)               Overcast (rust-colored back.)

There are about a half dozen shirts I currently rotate in my daily atire and the green shirt is the one I select less often than any of the others. I got the feeling there was a piling up of coincidences that had virtually astronomical odds against actually occurring and felt it deserved further investigation to see if there was any possibility to find a meaning to these synchronicities. First thing to ascertain the degree of chance involved in this scenario was to I.D. the species of bird that the feather came from starting with the most common native to our area that characteristically (or might have morphed) a blue-green, turquoise or cyan feather. My specimen measured 5.5 inches long from tip to end of quill and my uninformed guess is that it is either a secondary wing feather or perhaps a upper greater secondary covert feather.

The USFW Feather Atlas presents images of primary and (sometimes) secondary feathers of over 400 species of birds native to the U.S. against a grid scaled in centimeters. My feather is 14 cm long and to roughly determine the wingspan and overall size of the bird where it could be one of the secondaries - I took the data available for the Green Winged Teal duck as a start to determine rough proportion for the entire wing. All the secondaries for an adult of this species are only about 8 cm which suggests my bird is larger than this duck.

This eliminates the following species (based on coloration) that could be suspects as the source of my feather: Any of the warblers; green winged teal; Blue Jay; Bluebird; Florida_Scrub_Jay; three species of parakeets that have established feral, self-sustaining populations in areas of South Florida possibly within range of my locality, viz: Nanday or Black Hooded Parakeet; Monk Parakeet and Rose Ringed Parakeet - there are now thought to be approximately 100,000 of this last species in Florida alone.

There is a rail - the American Purple Gallinule - that might be a source of my feather but the nearest possible habitat for this very provincial species is over thirty miles away so the odds of their coming near this location are virtually nil. Unfortunately there is no data in the FWS Atlas for for this species or any of its similar-sized allies- the Moorhen, Virginia Rail or Clapper Rail. In a search for an image for secondaries that are close to the size of my feather - the only choice was the American Crow but its secondaries averaged over 14 cm so the size of my bird would be somewhere just under crow size which is around the size of a Purple Gallinule.

Update 03 12 2012: White-faced ibis: secondary Adult Male feathers. I retrieved a secondary wing feather preened from one of a flock of white ibis that are habituated to the grounds at Shepards Park in Stuart and it exactly matched the size of my feather suggesting a similar sized purple gallinule may be the source.

The secondary wing feathers of the Gallinule (credit) clearly have coloration and size close to my specimen, and appear to have the gray portion prominent in my feather. Less than 200 feet from where I found my feather, there is a small pond filled with water lilies and cattails (basic features of a Gallinule ecosystem) in the shopping mall parking lot, but it seems virtually inconceivable that this species would venture so far from a remote viable habitat to wind up in parking lot traffic- I would put the odds against this at way more than one-in-a-million and would make my synchronicity a mega-enigma.

During WWII because some obscure psychological research had suggested a pale green color reduced eye and emotional stress in subjects confined in interior spaces - it became the color that was universally painted on every conceivable government interior space, from command centers to aircraft cockpits. The momentum continued years after the war in all manner of institutional buildings and became known as "institutional green". In the context of contemporary memes- as an interior color, it is often referred to as depressing, lifeless or monotonous although various notepad products are still being marketed featuring "eye-ease green" colored paper.

Humans have three sets of cones for detecting color in different wavelengths: cones that detect red wavelengths, cones that detect blue, and cones that detect green, though each cone detects a wide spectrum that overlaps to create other hues. It is believed coral reef fishes see close to the same rich spectrum of colors that humans see, as evidenced by the many colors present in a coral reef environment.

It seems likely that from early herbivore primates to behaviorally modern Homo sapiens, given the selective advantage of recognizing shades and hues of green to recognize the edible from the inedible or poisonous - out of all colors in the visible spectrum - evolution would enable humans to distinguish the most refined differences in green coloration. Add the manner by which green is commonly produced by refraction in bird feathers, and reptile, fish and insect scales and the variable effects of reproducing subtle hues on webpages and it is difficult to present color graphics that are an accurate expression of what is being written about the nature of a particular "color event". Inexplicably, many Asian languages have no word distinguishing blue from green.

Following are objects and graphic works I created in the course of producing my Maya-Gaia pages years ago and more recently the Evolution-Involution Slideshow with features rendered in the cyan-green color. Of particular note - in the memory of the stream of energy that transported me during my Nirvikalpa Samadhi, I describe green and peach-colored rivulets. Way back in 2000, in striving to create an accurate representation of this episode, I chose a cyan-green that essentially matched the hue of my specimen. In my adaptation "big_bang_involution" of a graphic illustrating the relative position of the universe NASA created from the earliest signals detectable back to the Big Bang - the background representing "space" in the original map is rendered in cyan-green. In the only three spiritual paintings I created- 'Wormrock Reef", "Night of the Dolphin" and "Lotus" (symbolizing stages of life) cyan-green played a prominent role. The box that I transported my floppy discs to the library on a daily basis for the past two years is a cyan-green color. I colored all the dinosaur sculptures I assembled from kits to resemble the cyan-green hue of antique bronze.

In testing a number of plastic jugs for use as an improvised drum to accompany my Primordial Rhythm Meditation - the one with the most satisfying tone and timbre for a simulation of a shamanic hoop or frame drum was a cyan-green colored laundry detergent bottle which I initiated and now use as my sacred instrument.

Update 07 27 2011: I hesitate to overdo the synchronicity thing but feel this incident fits. I've been recycling National Geographic magazines that I pick up at the donation box at our library for years and usually have at least a dozen on hand at home that I casually read during my morning constitutional. Last night I chanced to catch a stunning episode on the Discovery Channel called Madagascar Diary and this morning happened to pick up at random a November 2009 issue and one of the articles indexed on the cover was Madagascar's Stone Labyrinth In flipping through the pages to find where that article began, I came across the page just before it started, which was the last page of the article Flashy Kingfishers that was a double page photo of a Eurasian Kingfisher in flight. It occurred to me that I had left out the kingfisher as one of the blue-feathered birds that might be in our locality and flipped back in that article to see if there was a picture of the N. American species. The only reference was the comment on page 83: "In the world's temperate zones, where drab plumage is the norm, this kingfisher, unlike its North American cousins, bedazzles." But it was the next paragraph that provided the essential illumination for understanding the Cheshire Cat-like nature of my blue-green feather. "The yellow, red, orange, and brown birds of the world assume their hues because of a pigment embedded in the keratin matrix of feathers. But blue feathers result from refraction, a prism-style splitting of light inside a feather. Under a microscope each long kingfisher barb, finer than a human hair, glitters with shades of the Caribbean. Tiny structures in the feathers choreograph incoming light, reflecting sapphire in one direction, emerald in another." (m-g comment: In hundreds of species of the Hummingbird family, in their courtship display, males have feather patches that flash dedicated hues over the entire range of the color spectrum- via refraction rather than pigmentation as do various species of tropical birds of paradise.) End Update

My cyan green is closest to the color patches in the NE Corner and Center of the chart below but has decidedly more of a blue cast. The best match for the Hexadecimal color code on the web is #66CC99. The color of the border on all my Maya-Gaia pages since 2000 is Hex #99CC99 but I could only attain a compromise for the different hues Firefox, IE7 and Opera browsers render the same html color attribute.

Hex #99CC99   Hex #66cc99

Variations of Green Various features, mythology and symbolism of the color "green" and those associated with specific hues. The majority symbolism for green is by association to lush, verdant nature. Islam venerates the color, (The Libyan Flag) as it expects paradise to be full of lush greenery. But the cyan hue of my specimen is sufficiently distinct from the Islamic green to be utterly disassociated from this increasingly perverse and corrupted ideology. See also Various Hues of Cyan

Synchronicity: Connecting the Dots by Mary Alice Long, PhD - "Ken finds a hawk feather on his daily morning walk with his dog." and other anecdotes from Synchronicity and the Stories of our Lives by Robert H. Hopcke presents synchronicity, or meaningful coincidence, using examples that are written in every day language making this Jungian concept easier to relate to and understand. Paying attention and connecting the dots after a series of synchronistic events and dreams can be helpful in developing our awareness and intuition.

Brain Vision Illusions An example of the degree our brains interpret the actual qualities of color and tone in the seen object to maximize our perception.

The Existential Deep-Time Synchronicity of My Lifetime

...It is said someone awakens only once every thousand years...

Putting aside notions about reincarnation - logic would assume we each are gifted a single lifetime. The most enigmatic synchronicity in regards to my reality therefore is that out of the untold trillions of individuals in my total phylogenic population back to my single-cell ancestors - statistically my moment should have already come and gone. Yet it is in this here-and-now lifetime with human consciousness that I was graced God realization in synchronicity with the arrival of accessible Internet technology that enabled me to publish my Samadhi Chronicles for posterity. Had my human life begun only a few years earlier (out of 200,000 possible Homo sapiens years) the Internet would not have existed yet and my story would have vanished without a trace except for the little pamphlet describing my mystical experience I self-published back in 1972 and only placed in the libraries in Boone College, N.C., Durham University and the Chapel Hill campus of the U. of N. Carolina where I'm confident it would have been either officially or otherwise expunged shortly thereafter by some vigilante from the fundamentalist community prevalent in the region, due to its heretical subject matter - fully acknowledging that skeptics are entitled to feel that would be no great loss to humanity.

In 1975, demographer Carl Haub wanted to estimate how many humans have ever walked the planet. Starting with an arbitrary dawn of humanity 50 KYA - Haub brought his estimate up to 2011 where Earth will soon be home to 7 billion humans. This represents 6.4 percent of the total 108 billion that have lived previous to the here and now. [see graph- Na Geo Mag, June 2011 p-33]

Of course the ultimate deep-time sychronicity effecting us all, involves The Goldilocks or Anthropic Principle wherein all the physical properties of the universe known as the cosmic constants converged to form a finely tuned, delicately balanced environment hospitable for life - especially intelligent life - to evolve. Had only one of over two dozen complimentary factors had the slightest shift over a narrow range of possible parameters, we would not exist.



email> smalltownsATusaDOTcom