EN / GLOBAL LABYRINTH NET PROJECT

BASIC UNITY OF THE HOLOGRAM: INSTALLATION “PERSONALIZED LABYRINTH”

(How to build an artistic installation as a tool for reflection and synthesis about the meaning of the own life)

"This labyrinth -the Instructor said-, is an art installation inspired in the ancient labyrinths of many ancestral cultures. It serves for going very deep in the remembering and knowing of the main facts that influenced the direction of the personal way of life of the person who is interacting with it.”

“The Labyrinth is Art, and you can not simply to walk along its path thinking or meditating, no, you have to interact with it in a creative, artistic way”

“Art is one of the four faces of the Wisdom Pyramid, the other three are Science, Philosophy and Religion, the Ancestors said that the four faces looks like very different at the Pyramid base, but, arriving to the top, all of them become one. They named “Alquimia” to the synthesis of the four knowledge ways,”

“Knowledge means information acquired using methods or techniques. Wisdom about the own life requires to get information, but it is not enough, that information must be acquired by own experience, by evidence, by deep feeling and reflection about your inner walking for your own way on the life, interacting creatively with it. Did you understood, traveler?-

-“ I think yes –replied the Artist- the last phrases that you pronounced express very well my own concept about the sense and function of Art.”

-“Very well- said the Guardian of the Labyrinth of the End of The World- If you have understood these concept, let´s speak about how is this specific art installation that pretends to represent, in a reduced surface, the long extension of the experience of your way of life on this big planet:”

“Your personalized Labyrinth may be a path of spirals in form of an eight, surrounded for a garden that you have to cultivate for alimenting yourself while you are building it, artisticed with more or less rustic sculptures that yourself are going to made freely, to your own way and style, crossed by the water courses which you find over this site and ornated by all the trees, fruits and flowers that you found here, and for all the ones that you want to plant.”

“The Labyrinth is as the Life –said the Instructor smiling- you find in front of you a land and natural elements over it, and you have to create a material order of them, a system for alimenting yourself, for living there, for lodging there… and you have to create also a mental organization, for personalizing your space and for surrounding yourself of natural and artificial comfort, signification and beauty, according to the personal demands of your sensibility.”

“The first, so, is the basic installation, traveler. When it is basically, materially installed, this path is going to serve you for reconsidering the successive stages of your life path in which you gathered power and worthiness to go in search of the realization of your main objectives... and to meditate about why you got or did not get realizing it.

“With this creative reflection and meditation, you are going to remember clearly, along each period of seven years of your life, what were the ways in which you had proceed, within your own actions, that lead you to the success or failure of your main objectives of that period ... or, more specifically, where is that your strength empties, just when you need more to use it well."

INICIATION TO PERSONALIZED LABYRINTH

The Instructor´s personalized labyrinth which the Artist was looking now, was a path covered with a shoreline of rounded pebbles that extended in spirals between clumps of narrow, fertile black soil, contained by a border of stones, on which he had planted lettuce, onions, carrots, cabbage, broccoli, parsley…
... alternating them with yellow and white daisies, roses, carnations, geraniums and other small sized local flowers.

It looked like a pleasant garden, on land at two heights, with some rocks whimsically carved by the sea decorating places, runaround coils in each scroll. There was something like a rustic sculpture made of driftwood placed on a base of large stones in the center, located between the upper and lower slopes of the plant in form of number eight.

-“The labyrinth is a path of creative reflection and meditation on the stages of your life ... It is divided in one hundred ten stations, which these glyphs defined” –The Instructor explained, appointing to some graphs that had been painted with white lime on a long line of standing stones, situated to each two nor three steps in the border, along the white gravel.-

-“The first ten stations manifest the essential forces with which all of us were born and they are always with us, forming and informing us, as a fundamental program. My instructor called them "The Perpetual Essentials.

You are going to enter in the Path for Season 5, "The Son". The Son represents every one to each of us, the travelers, the Sons of Life, whose mission is to walk the Life´s ways.

The next twenty stations represent your lower emotions, those brute, involutionary conditionings or handicaps that you charged in your genetic memory from before being born. My own Instructor called them "The Ego Faces". They have been formed for your self. To learn to manage and dominate these brute forces with intelligence is your main responsibility over this world. They are the implicated challenges in your personal game of life.

The rest, the ninety stations which complete the hundred and ten ones, represent your true personal learning, de evident knowledge that you are going to acquire, walking into your own path of our life.

Along eight stages of your lifetime, you have to refine those brute stones of your involutionary, retrograded, emotionality, in order to convert your more ignorant impulses and desires, always impossible to be satisfied, in detached will, constant, active and constructive understanding… in order to developing wisdom. Just in this consists your game on this Life School… And the one of all of us, your game partners.

At the same time that you are acquiring compression, between station to station of your path, from Potentiality Station to Mastery Station, your awareness of the life path course is increasing … and this fact produces in you more and more clarity about what is lacking to crown your manifestation on this world positively, which is preparing to open yourself to the next evolutionary step and to move you, from your current conscience dimension, to another more enlightened one.”-

LABYRINTH STATIONS

Indeed, from the next day, the Artist was initiated in the interactive practice on the evolutionary path, where the lessons and experiences that he had happened in his anterior time life, had prepared him perfectly for progressing quickly now. So, the Labyrinth did not have to do another role than the recycling of an intense life experiences, in order to extract their general meaning and learning.

-“Of course, I would not know how to initiate in the understanding of the Labyrinth to some person who arrived to me in white -the Guardian had said -, the only thing that I can do is to recognize someone who brings a long way already done, and provide for him an adequated template for depositing his powers… a template as this Maze, where he can order the extracted knowledge of his own experience of living in a synthesis.”

The Labyrinth of the End of the World

-“Since we have developed the use of imagination and reason -the old man said-, man invented all kinds of gods to explain the world, but all that still is clear for us, today and always, is our vast ignorance about the infinite Mystery of the Universe. Mystery that is the engine that moves us to keep asking questions, speculating, searching and, finally… evolving. We are made, in our primary mindset, for a number of basic elements that my instructor called the Perpetual Essentials. The most extended of them is the Mystery, which occupies most of our minds”.-

       -“Over the spatial screen of Mystery – He continued instructing-they emerge, as the nearest bright planets which populate it, our first three identifications: there is, in the origin of all of us, the figures of a father and a mother. And always will remain within us, in the interior of men or women who we are, the figure of the Son.”-


      -“Two other fundamental archetypes complete the first eight ones: The Guardian of the Threshold, the ego, which is always filtering, translating and interpreting all what Mystery is carrying to our consciousness… and the Shadow of the Light, which represents the limitation, the need, worry, fear, that is our main challenge”,-

When we start to walk on the Labyrinth of Life, you and me and everybody are realizing that we did not come in white to this world, but each of us drag, from before borning, a lot of self-importance, the ego faces. Each one of them is owned by their own ignorant desires, desires that we must learn to transmute, in order to get that, the most authentic in ourselves, be able to arise in the top of our mental sky, shining so much as sun shines when there are no clouds.

That learning is being made through the stages and stations of the way, which is, itself, a vital choice with several courses, which are staggered degrees of polishment and understanding. When you arrive, at last, to your own Mastery, that fact becomes you in a Helper. Only then is possible that your love, illuminated by your assimilated wisdom and linked to the source of all power, be able of illuminating a second birth in a more elevated degree of conscience for yourself or for others. -

Later, in his home already, the Instructor suggested the Artist to write and draw all what he remembered from his first reflective walking by the maze, charging him meditate on it, always referring to the forces that formed his personality and to the experiences of the cycles of his life, already lived.

After a nap, he gave to the Artist a maze that had fresh clay modeling of two colors on a tablet, so small that you could cover with both hands outstretched. One of the colors drew only the path, which stood or fell between a hill and a valley.

-This is a model of a Generic Labirinth, as the old one of the End of the World, life travelers named it, which carried you here –he explained-, but you're going to customize it, you'll become it in "your personalized labyrinth". For that, you have to go adding or removing mud to your path, in order to create the high and lows curves of the emotional journey of your lifetime, along cycles of seven-year. The level of height will be marked by the intensity with which you lived the most significant periods of each cycle, whether of pleasure or fight.

The downs levels of the path will represent your moments of routine, stagnation, crisis, darking, devious, bored, sleepy, empty, flat… although they are preparatory moments for the ascendings that will come later. This construction is a creative meditation exercise for you, and you may workin in it when you're here, at home, or beside the fire, at night ... as shaping you into the mud at every period of your life, you should recycle in your head every important learning you took from him. In the morning, when you are in your garden-labyrinth, you'll transfer to it everything that you had changed on the small model. –

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    From the second day and along many others, the Artist, hoe in hand, broke the ground, leveled best possible -even a wisp of the eight was higher than the other, because of the ground configuration- He oriented North-South the axis of the initial lines of the maze and traced the spiral paths, helped by the Instructor.

     The old man had learned from his own instructor, the Architect, certain geometric formulas to achieve geometric developments in which each side had a perfect relationship with the whole set - "Let´s do that the path matches to the walker step" -had told the Architect. -He made the Artist to advance a step along the ground and scored two points in it, between the heel of the foot which was left behind, and the fingertips of the one in advance.

      -These ones are the proportions of your personal labyrinth, my friend: Let's cut a straight rod with the size of four steps of you. We are going to call that stick your personalized "labo", the labo will give us the measure of the radius of each of the two scrolls of the eight.

Start hammering on the southern or eastern end of the land to a stake to tie a rope to extend fifteen steps until fix in another stake, on the other end, which can be north, west or variations in between. We obtained eight shaft.

From both ends, with the labo marking the center of each scroll and pegs nailed two from each, tied the rope and trace the outline of both scrolls, which have one labo as radius.

Using a rope and beat any extent greater than the radius, attached to each of the two ends of the diameter of each scroll, they obtained, where the two curves intersect, the other pole of the cross scroll part in four parts.

“Each spiral track width will labos fourth, ie a long step yours. The rest is to follow this pattern. Maximum care in the area where the two spirals interpenetrate, about 7 steps and through each end, which will be the center of the labyrinth.” –

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Once well traced the contours, the Artist accumulated about them the fertile land, leaving between half-width solid step for the trails. Then he was covering the trails with countless small white pebbles brought from the beach shoulders in baskets and placed limits on the edges with stones staffs, taking care to leave the gutters to drain rainwater.

At the same time he was airing and softening the clods of planting beds that were on both sides of each spiral path and paid them well.

As they gathered in their lodge, the Artist had all the time in view the maze-model, and he was modifiing and refining it when he finished other activities, when it was beside the fire or just before going to sleep.

Almost without realizing, he was giving to that three-dimensional maze the form of a wrapped in the folds of a cloak reclined woman.

Then it was time to go putting the inner edge of the path, larger stones chosen to mark the 110 stations, leaving similar distances between each stone and highlighting most beautiful and largest 24 Major Glyphs as were featured Generic in the Labyrinth.

It turned out that the station was the same as zero one hundred ten, as the path ended at the same place where it began or recommenced, was a "Uroboros", as the Greeks called the infinity symbol of the snake biting its own tail, certainly the same that led to number eight.

Then the Instructor taught to paint with colored lime green and ocher pigments mixed with egg white setter, stylized glyphs or signs corresponding to the meaning of each season, the same that were seen in the carvings on the stonesancient labyrinth, some already badly eroded.

After that, I told very clearly that there ran all data and tracks the Ancients had left, and that henceforth, he had no choice but to be creative in order to make further progress and understanding.

When the artist asked about the ruling through the labyrinth, the old man said that neither the Ancients had left any instructions of what could be inferred that every hiker should invent their own course, pace and manner of walking, as occurred inthe Way of Life.

Más tarde llegó el momento de ir situando al borde interior del sendero, las piedras mayores escogidas para marcar las 110 estaciones, dejando distancias semejantes entre cada una y destacando con piedras más bellas y de mayor tamaño los 24 Glifos Mayores, tal como se hallaban destacados en el Laberinto Genérico.

Resultó que la estación cero era la misma que la ciento diez, pues el sendero terminaba por el mismo lugar por donde comenzaba o recomenzaba, era un “Uroboros”, como llamaban los griegos al símbolo infinito de la serpiente que se mordía la propia cola, con certeza el mismo que dio origen al número ocho.

Luego el Instructor le enseñó a pintar, con cal coloreada de pigmentos verdes u ocres mezclados con un fijador de clara de huevo, los glifos o signos estilizados que correspondían al significado de cada estación, los mismos que se veían en los grabados de las piedras del laberinto ancestral, algunos ya muy erosionados.

Tras eso, le avisó muy claramente que allí se acababan todos los datos y pistas que los Antiguos habían dejado, y que, en adelante, no tenía más remedio que ser creativo si quería seguir progresando y comprendiendo.

Cuando EL Artista preguntó sobre las reglas para recorrer el Laberinto, el viejo dijo que tampoco los Antiguos habían dejado instrucción alguna, de lo que se podía colegir que cada caminante tendría que inventarse su propio rumbo, ritmo y manera de caminar, igual que ocurría en el Camino de la Vida.

Dejó que pasasen tres días sin dar nuevas informaciones, a ver si a el Artista se le ocurría algo original, pero no hubo progreso alguno, sino una mayor confusión. Entonces le preguntó si quería que le proporcionase los nombres que había dado El Arquitecto a cada estación, de acuerdo con su interpretación personal del recorrido dibujístico de cada glifo. “Cada signo, para mí, es el desplazamiento de un punto de energía de comprensión humana” –había dicho su instructor al Guardián-, “es como una danza de una figura simple, que dibuja en un gesto su significado”.

El Artista aceptó y encontró muy lógicas, y al mismo tiempo muy intuitivas, las denominaciones que el arquitecto había dado a las figuras básicas que formaba cada signo. Para memorizarlas, las fue escribiendo al lado de cada uno de los glifos, que dibujó sobre el reverso de una piel de vaca curtida que hacía de alfombra en la cabaña del viejo, quien le animó entonces a fijarla sobre la pared, para que mejor pudiese estudiar sobre ella.

He left them to go three days without new information, to see if the artist could think of something original, but there was no progress, but more confusion. Then he asked if I wanted to provide him with the names that were given to each station Architect, according to their interpretation of the course of each glyph dibujístico."Every sign, to me, is the displacement of an energy point of human comprehension," said the Instructor, his instructor, "is like a dance of a simple figure, in a gesture that draws its meaning."

The artist agreed and found very logical, and yet very intuitive, the names that the architect had given the basic shapes that formed each sign. To store, the writing was beside each of the glyphs, which drew on the back of a tanned cowhide rug that made in the old shack, then who encouraged him to fix on the wall so that he could better study on it.

-Ahora, cada caminante del laberinto de la vida tiene que pensar sobre todos y cada uno de los conceptos que estos ciento diez nombres designan y, si sabe hacerlo, escribirlos e ir mejorando lo escrito poco a poco, intentando ser breve, profundo y sintético –explicó el viejo-. Naturalmente, lo que escriba dependerá de la filosofía personal de la vida que desarrolló durante su caminada.

-…Entonces- caviló el Artista al oír aquello-, supongo que cada reciclaje del conocimiento adquirido por una persona será diferente que el de otras personas descubran sobre sus propias interpretaciones, aunque puedan coincidir en algunas cosas.

-Así es –respondió el Instructor-, y esa es la gracia de este juego. Los Antiguos crearon un sendero básico que todo el mundo puede caminar, pero lo que cada caminante va cultivando o construyendo a lo largo de él es original, creativo, único, personal y, en lo más hondo, intransferible, igual que el camino de vida de cada uno y la sabiduría que adviene de recorrerlo.

-That's right, the Instructor said, 'and that's the beauty of this game. The Ancients created a basic path that everyone can walk, but what each walker is growing or building over it is original, creative, unique, personal and, deep down, transferable, like the way of life of each and the wisdom which comes to cross it.

In other words ... this recycling to review, understand and become aware of what you have learned in your life, I served, really, only yourself ... but soon we begin to eat together the vegetables from the garden that you cultivated whileelucubrabas ... That is what has real value and usefulness to others! - Laughed ironíael Labyrinth guardian.

…Es decir que este reciclaje para repasar, comprender y tomar consciencia de lo que has aprendido en tu vida, te sirve, de verdad, a ti mismo solamente… aunque dentro de poco podremos comenzar a comer juntos las verduras de la huerta que cultivaste mientras elucubrabas… ¡Que es lo que tiene verdadero valor y utilidad para los demás! - rió con ironíael Instructor del Laberinto.

- ... So mused the artist to hear that, 'I suppose that every recycling of knowledge acquired by a person will be different than other people to discover on their own interpretations, although they may coincide in some things.

Desde el día siguiente, con una pluma de gallo afilada y tinta hecha con negro de hollín y el mismo fijador, EL Artista fue poco a poco escribiendo notas en su idioma sobre hojas secas, y las iba colando con resina de pino junto a cada glifo, cambiándolas por otras cuando conceptos más adecuados iban llegando a su comprensión.

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-Now, each walker maze of life have to think about each and every one of the concepts that these hundred and ten names designate and, if you know it, write the writing and keep improving slowly, trying to be brief, deep and synthetic 'said the old man. Naturally, what type will depend on the personal philosophy of life that developed during their walk.

From the next day, with a sharp pen and ink gallo made with black soot and the same fixative, the artist was slowly writing notes in your language on dry leaves, and was straining with pine resin next to each glyph , and changed for other when appropriate concepts were coming to an understanding.

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Despite his boredom with analogies, his understanding was increasing while grew and multiplied the leaves of the plants in the beds between paths. The artist even got to enjoy a lot of double or triple that wonderful development, leaf by leaf, in the garden, cow skin and head, irrigated by water power, and it was becoming, slowly, a pretty good gardener , as was increasing his rapport with the elements.

A pesar de su aburrimiento con las analogías, Su comprensión fue aumentando al mismo tiempo que crecían y se multiplicaban las hojas de las plantas en los macizos entre senderos. El Artista hasta llegó a gozar mucho de aquel maravilloso doble o triple desarrollo, hoja por hoja, en la huerta, la piel de vaca y su cabeza, regada con agua de poder, y se iba haciendo, poco a poco, un jardinero bastante bueno, a medida que iba aumentando su compenetración con los elementos.

But it was a big leap forward, was the morning when he got up well before dawn, lit a candle and sat humming softly as she continued with the index drawing each glyph skin nailed the wall, much to the surprise of the Instructor, when he awoke.

Ahora bien, lo que supuso un gran salto hacia adelante, fue la madrugada en que se levantó mucho antes del alba, encendió una vela y se quedó canturreando bajito mientras seguía con el índice el dibujo de cada uno de los glifos de la piel clavada en la pared, para gran sorpresa del Instructor, cuando se despertó.

That morning the artist decided to replace its conceptualization conceptualization musical logic that the flow of each sign suggested. That made him gradually changing leaves almost all written and elevations or decreases spiral path in the maze-model, fewer and more three-dimensional plane, as it was emerging from his lyre or the flute a composition titled "Labyrinth Wakes" bewitching music was his host for the day is the perfect listening. The old man also had a flute and every night happily accompanied his guest, playing both for a while before the fire.

Aquella mañana el Artista decidió sustituir su conceptuación lógica por la conceptuación musical que el fluir de cada signo le sugería. Eso le hizo ir cambiando gradualmente casi todas las hojitas escritas, así como las elevaciones o descensos del sendero espiral en el laberinto-maqueta, cada vez menos plano y más tridimensional, a medida que iba surgiendo de su lira o de su flauta una composición que tituló “Estelas del Laberinto”, música que iba entusiasmando a su anfitrión a cada día que la escuchaba perfeccionarse. El viejo también tenía una flauta y todas las noches acompañaba con alegría a su huésped, tocando ambos un buen rato ante la hoguera.

The investigation of the Artist music flourished while most of the flowers from the garden maze and the Instructor telling him encouraged him greatly exceeded its reflection in creativity that he had done on his own in the past. When he saw that his pupil was on his mind well beyond expectations, began to share some of his personal discoveries those that essentially coincided with his.

La investigación musical de el Artista floreció al tiempo que la mayoría de las flores de la huerta laberíntica y el Instructor le animaba diciéndole que su reflexión superaba muchísimo en creatividad a la que él había hecho por su cuenta en el pasado. Cuando vio que su alumno iba por su cuenta bien más allá de lo esperado, comenzó a compartir algunos de aquellos descubrimientos personales suyos que coincidían en lo esencial con los de él.

Expondremos a continuación los textos finales que el Artista acabó asignando a cada estación con un esfuerzo de síntesis. Están resaltados los Glifos Mayores con un mayor tamaño y grosor de texto. Los Glifos Mayores son 24 inscripciones grandes de granito, muy desgastado por el paso de los milenios, considerados los más antiguos del Laberinto Genérico Ancestral.

We will present below the final texts Artist assigning each season ended with a synthesis effort. Major glyphs are highlighted with a larger text size and thickness.Major Glyphs are 24 large granite inscriptions, very worn by the passage of millennia, considered the oldest Ancestral Generic Labyrinth.

Cuando escribía, el Artista estaba convencido que, mejor que dar explicaciones demasiado concretas, cada texto tenía que ser tan ampliamente sugerente como el título o la estrofa de una canción, a fin de permitir que cada caminante del laberinto entrase en la sugerencia y danzase libremente con ella, volando sobre las alas de su propia imaginación y creatividad.

When writing, the artist was convinced that better explain too specific, each text had to be as widely appealing as the title or verse of a song, in order to allow each maze walker entered the suggestion and freely danzase with it, flying on the wings of his own imagination and creativity.