The Globe

‘The answer lies in the Core, a seeing rooted in the Core, not above and beyond in the transcendence. The transcendent seeing reveals only the Being – what is, the circle seen from a great height, high enough to perceive circles within circles which linear perception cannot encompass. But it does not reveal the details of the Becoming within the Being. Its vision or seeing is therefore STATIC.

     ‘It is only a poising of the Seeing Eye in the Core and perception from that Point which can disclose the nature of the Becoming within Being and hence reveal how this knowing is made possible.

    ‘When that centering comes into being, then only is the simultaneous truth of the One and the Many made manifest, then only has ‘the time come’ for the new Supramental Creation.’ (The VISHAAL Newsletter, Vol. 4, Issue 4, Oct. 1989.)

The above can be considered a definition or description of the translucent Globe in the Core of the Mother’s Chamber when perfect centering is accomplished – that is, a perfect alignment of vertical and horizontal to allow for the birth that fills the Void. Though this function does not exist in the Auroville Matrimandir, it is nonetheless the most important function of the Mother’s Vision; indeed, it is the symbol of the future realisation, as she herself has described it.
          For a creation to be of the Supermind, or the solar substance of the Truth-Consciousness, certain laws must be respected, certain harmonics, if you will. Indeed, music is the answer. But in the case of the Mother’s Chamber, it is truly and indisputably a music of the spheres. Her creation is the only factual example of such cosmic harmonies in art and architecture. There may have been examples in the past; but it is a past so distant that traces of it are found only in myths. To discover this great secret we have to dig deep into and through the soil of the Ages.
          The 9 has been the great key of Knowledge. It is the measure of our scale to create the music of the spheres. The Zero is the Shruti (‘drone’ of Carnatic music) of our composition. This is the Vedic Fullness, and out of that plenitude all the tones arise and the raga comes into being. The 0/Shruti is the immeasurable Silence given Sound to render it audible (measurable) in our material world of time and space. It is OM.
          The Mother’s Chamber is a musical instrument but of a special order; through it we can ‘hear’ the sublime Music of the Spheres. We ‘hear’ through perception – just as the ancient Rishis did; for which reason the word to describe the experience is shruti, or the heard seeing. The music is ‘heard’ through the Act of Seeing. The Shruti of Carnatic music serves to focus perception in the musician so that he or she may have access to that sanctum sanctorum that is the womb of the Cosmic Mother, the pregnant origin of all sound, the sacred Pranav. In the scale of 9 the Mother embodies the number-power 6, which is precisely the ‘note’ of the Cosmic Divine in the 0 to 9 scale of the cosmic harmonies. It is only fitting therefore that she herself should have bequeathed this sublime new musical instrument as her final legacy to human civilisation, with which we can play/hear the ‘music’ of that very cosmic principle she embodied so impeccably.
          The previous 9 Chronicles were merely a preparation, an initial cleansing or libation as one undertakes before entering a temple. The lens of perception was being focussed during those 9 Chronicles so that, similar to the Shruti (‘drone’) of Carnatic music, consciousness and perception would become single-bodied.
          However, until now we have not really entered the sanctum sanctorum. We have been rising through the Shalagrama and in the process we have shed light on the flaws and fallacies of the world men have created; and we have shed many veils that cloud perception.

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