The Book: On the Taboo Against Knowing Who You Are Read Online Free PDF Page B

piece like the head-tailed cat.
    We also speak of attention as noticing . To notice is to select, to regard some bits of perception, or some features of the world, as more noteworthy, more significant, than others. To these we attend, and the rest we ignore—for which reason conscious attention is at the same time ignore ance (i.e., ignorance) despite the fact that it gives us a vividly clear picture of whatever we choose to notice. Physically, we see, hear, smell, taste, and touch innumerable features that we never notice. You can drive thirty miles, talking all the time to a friend. What you noticed, and remembered, was the conversation, but somehow you responded to the road, the other cars, the traffic lights, and heaven knows what else, without really noticing, or focussing your mental spotlight upon them.
    So too, you can talk to someone at a party without remembering, for immediate recall, what clothes he or she was wearing, because they were not noteworthy or significant to you. Yet certainly your eyes and nerves responded to those clothes. You saw, but did not really look.
    It seems that we notice through a double process in which the first factor is a choice of what is interesting or important. The second factor, working simultaneously with the first, is that we need a notation for almost anything that can be noticed. Notation is a system of symbols—
    words, numbers, signs, simple images (like squares and triangles), musical notes, letters, ideographs (as in Chinese), and scales for dividing and distinguishing variations of color or of tones. Such symbols enable us to classify our bits of perception. They are the labels on the pigeonholes into which memory sorts them, but it is most difficult to notice any bit for which there is no label. Eskimos have five words for different kinds of snow, because they live with it and it is important to them. But the Aztec language has but one word for snow, rain, and hail.
    What governs what we choose to notice? The first (which we shall have to qualify later) is whatever seems advantageous or disadvantageous for our survival, our social status, and the security of our egos. The second, again working simultaneously with the first, is the pattern and the logic of all the notation symbols which we have learned from others, from our society and our culture. It is hard indeed to notice anything for which the languages available to us (whether verbal, mathematical, or musical) have no description. This is why we borrow words from foreign languages. There is no English word for a type of feeling which the Japanese call yugen, and we can only understand by opening our minds to situations in which Japanese people use the word.(1)
    There must then be numberless features and dimensions of the world to which our senses respond without our conscious attention, let alone vibrations (such as cosmic rays) having wave-lengths to which our senses are not tuned at all. To perceive all vibrations at once would be pandemonium, as when someone slams down all the keys of the piano at the same time. But there are two ignored factors which can very well come into our awareness, and our ignorance of them is the mainstay of the ego-illusion and of the failure to know that we are each the one Self in disguise.
    The first is not realizing that so-called opposites, such as light and darkness, sound and silence, solid and space, on and off, inside and outside, appearing and disappearing, cause and effect, are poles or aspects of the same thing. But we have no word for that thing, save such vague concepts as Existence, Being, God, or the Ultimate Ground of Being. For the most part these remain nebulous ideas without becoming vivid feelings or experiences.
    The second, closely related, is that we are so absorbed in conscious attention, so convinced that this narrowed kind of perception is not only the real way of seeing the world, but also the very basic sensation of oneself as a conscious being, that we are