Dark Meditation: Towards 'I' as an Antenna Resonating Faintly with the 'Primordial Pulsation of the Dharma Realm' Before the Segmentation of Universe/Non-Universe - Reading Shinichi Nakazawa's 'Archaeology of the Spirit' Carefully (8)
Continuing to read Shinichi Nakazawa's 'Archaeology of the Spirit'.
Seigo Matsuoka writes in 'Kukai's Dream' that "theessential secret of Buddhism boils down to the point ofhow one can control consciousness" (Seigo Matsuoka, 'Kukai's Dream', p. 23).
Controlling consciousness
For example, we suffer and are lost because wedivide things into two, such as self/other, life/death, purity/impurity, light/darkness, andinsist on making one of them our own while trying to keep the other at a distance. For instance, with life/death, we think, "Let's choose only the former and discard the latter." However, no matter how much we crave it, that will never come to pass. People suffer and fear because they know that even if they insist, it will not be fulfilled.
Leaving the two sides, not clinging to either of the differentiated two sides
What should we do to overcome this suffering?
Ultimately, whether it is "life/death" or anything else, it is best tonot cling to either side of "A/non-A". This is called "leaving the two sides".
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Not clinging (not being attached) to either "A" or "non-A"—how on earth can one do such a thing??
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The response to this question is that it is our "mind" that isdoing the "/" of "A/non-A", and that we just need to fully realize thatwe can reconfigure the way our "mind" works.
Whether it is life/death, dog/cat, or anything else, the opposition between "A" and "non-A" is not a situation where "A," which exists as such from the beginning, and "non-A," which is simply there as such from the beginning, happen to bump into each other by chance and start saying, "Hey, what are you looking at? Are you picking a fight? Huh?"like that.
Discriminatory mind
Rather,it is just that where a movement that can be called the moving of the "/", the cutting of the "/", the distinguishing of the "/", the segmenting of the "/", or the discriminating of the "/" is taking place, it appears for a moment as if separate realms have opened on both sides of the "/", and if thisdividing movement of the "/" transforms into a different way of moving, the "thing-ness" of the realms "A" and "non-A" that were originally on both sides of the "/" will become something that we are not even sure exists or not, and at the very least, it will no longer be something to cling to.
This subtle movement of the "/" is the "mind." This "
mind" is the "mind" of the Heart Sutra, and the "mind" of the Heart Sutra, and the "mind" of Kukai's 'Treatise on the Ten Stages of the Mind' (Himitsu Mandara Jujushinron), which is the "mind" of the "mind".
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The way of discrimination seems fixed but is not fixed
Representing the "mind," which is the "/," with a "straight line" might not be a very good expedient. It might be easier to imagine the "/" as a pulsation, a vibration where wavelength and amplitude are repeated while maintaining a nearly constant level, so that as the wavelength and amplitude are continuously (analogically) modulated—expanding and contracting in cycles like "whoosh" or "ping," or increasing and decreasing in amplitude like "oomph"—it becomes easier to visualize the way the realms delimited on both sides (the shapes of "A" and "non-A") are transformed one after another.
Moreover, this "/" as a wave, or in other words, the "mind," is not a single homogeneous thing, but is diverse; that is, waves of various waveforms overlap, cancel each other out, and superimpose, and to put it simply, it transforms patterns like Lissajous figures one after another.
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From a place where there is neither fixed opposition nor lack thereof, subtle patterns that are neither divided nor undivided appear and disappear, becoming something that is neither quite there nor quite absent. Is this state what Mr. Nakazawa refers to in 'Archaeology of the Mind' as the state of mind called 'Semnyi'?
When these subtle patterns, which are neither divided nor undivided, repeat over and over, entangling in the same pattern while 'decelerating', the dualistic appearance of A and non-A, which seem to weave a fixed oppositional relationship, becomes clearly defined. This way of the mind repeating the movement of 'dividing' in the same pattern could be called 'Sem' in the terminology of 'Archaeology of the Mind'.
Vividly seeing the way the mind's vibrational state
transforms in various ways
Mr. Nakazawa's practice up to this point was to 'see' the workings of the 'mind (Semnyi)' in the depths, which generates the various discriminating minds (Sem), at the bottom of the mind called 'Semnyi'. This 'seeing' is performed through yoga that 'projects the 'light' that resonates with the pulsation within the human body, which is no different from Semnyi,' from the eyeballs through a crystal tube into the blue sky'.
Once this practice of 'projecting light from within into the blue sky' is accomplished, the next practice awaits, leaving behind the blue sky where sunlight pours down, to 'shut oneself in pitch darkness and meditate'.
Meditation in darkness is, as Mr. Nakazawa writes, something that 'not only synchronizes with the vital vibrations that match the heart's pulse', but also 'focuses on the entirety of the complex neural network filling the space of the cerebrum'.
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In order to 'resonate' with the 'diverse vibrating patterns' in this 'complex neural network', one complexly combines the 'vibration of 'silence'' and the 'vibration of intense 'wrath''.
Here, Mr. Nakazawa writes that 'in Tibetan Buddhism, an image of a 'deity' is assigned to each of these 'vibrations of silence' and 'vibrations of wrath'' ('Archaeology of the Mind', p. 314).
An avatar that visualizes the vibration...
The 'intensity' of existence that fills the Dharmadhatu
In what is written with the word 'vibration', there is a hint for understanding what is 'seen' in meditation performed while shut in a pitch-black room, or rather, for 'listening' as a sermon'.
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Regarding the word 'deity' as a name for this 'vibration', Mr. Nakazawa writes that 'in Tibet, 'deity is not so much a transcendent being' but rather 'a word expressing the 'intensity' of existence' that 'fills the Dharmadhatu'' (p. 314).
This 'intensity of existence filling the Dharmadhatu (let's liken it to the term natural frequency)' has various patterns. In particular, the difference in 'high/low' intensity is precisely what creates complex combination patterns.
Here, 'the pattern brought to the surface by the vibrating force of 'low intensity' is the 'real world''. This 'low intensity' is the appearance of a higher intensity of vibration that has been 'decelerated and had its amplitude suppressed'.
Mr. Nakazawa calls the place where the 'high intensity' before being dropped to a low intensity 'overflows' the 'Dharmadhatu filled with existential information'' (p. 314).
“This ‘high intensity’ Dharmadhatu contains a symbiosis of various vibrations. It is possible to classify them into one hundred types of ‘deities’. If you classify the differences between these deities by color, form, and functionality—reminiscent of modern quark theory—you can group them into roughly one hundred types. You then overlay avatars onto them, expressing them as peaceful deities or wrathful deities.”
The Buddhas and deities placed in the depicted mandala should also be perceived as patterns drawn by such intensities of existence and their variously differing vibrations.
High-vibration states do not vibrate uniformly or homogeneously; rather, “various vibrations” are resonating together, overlapping, or sometimes canceling each other out. The combinations of how they resonate, overlap, and cancel each other out are tentatively classified into about “one hundred types.” This could likely be classified more finely (immeasurably many) or more broadly (for example, about eight types) as well.
“Deity” refers to these various vibration patterns, and a system of differences in the names of the deities is constructed to resonate with the differences in these vibration patterns.
What occurs to me here is that the names of the deities handed down in Japanese mythology might also be heard in this way.
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By making the differences in the sounds of the deities' names resonate with these differences in the intensity and resonance patterns of the various vibrations (sound is also vibration: speech), and by making the visual images of the deities resonate (light is also vibration: mind). It is very interesting that this is expressed as “overlaying an avatar.”
At this point, it leads to the practitioner living in this world making their body, speech, and mind (low vibration) resonate/synchronize (Samaya) with the Tathagata (high vibration) through the Three Mysteries empowermentThree Mysteries empowerment.
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Peaceful Deities and Wrathful Deities
Now, these “avatar-overlaid”vibration patterns of the deities' names and forms can be broadly divided into two categories: peaceful deities and wrathful deities.
“In the Yangti Nakpo, it is believed that such forty-eight types of peaceful deities and fifty-two types of wrathful deities (avatars) are active from the cardiac plexus to the cerebral plexus.”
At this point, it feels like “this is ‘attaining Buddhahood in this very body’.” The practitioner's
body itself, while divided into about a hundred types of deities, cannot be completely divided and is connected as one, in a state of complete equality, Samaya, and resonance with the “Dharmadhatu (Tathagata).” This is truly attaining Buddhahood in this very body.
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Although it is in a different context, I am reminded of a passage regarding Sanmitsu Kaji (the Three Mysteries) written in the book Secret Rituals (Himitsu Jiso) by Master Ekan Ikeguchi, a practitioner of Shingon Esoteric Buddhism.
“If a practitioner takes Fudo Myoo as their principal deity and forms the Myoo's mudra, that mudra becomes a manifestation of wrath; if the practitioner chants the Myoo's mantra with their mouth, that mantra becomes the voice of the Myoo; and if the practitioner contemplates that their mind is the Myoo, then the practitioner's entire body assimilates into the form of the Myoo. In other words, by the three mysteries of body, speech, and mind of the principal deity becoming equal to the three mysteries of body, speech, and mind of the practitioner, the practitioner becomes identical to the principal deity and possesses the same power. This is the structure of 'entering the deity and the deity entering me' (nyuga-ganyu).”
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Let us now try to visualize this as an image of resonance of pulsations (where wave speeds or waveforms overlap, increasing amplitude, or creating new resonant frequencies).
Light is
a specific band among all possible pulsations.
The reason it is convenient to use the analogy of pulsation is that it makes it easier to think about 'seeing' using the terms we have at hand: the 'resonance' between light (the source of which is generally the sun; even fossil fuels that light up the night are, if they are ancient trees or microorganisms, ultimately just transformed solar energy) as a specific pattern of pulsation, and the inherent pulsation/frequency of the human visual system or the nervous system that extends throughout the entire body including vision.
In this case, it seems better not to limit the word 'light' to 'visible light,' which is the band capable of exciting the visual nervous system. This is because it is not only visible light that is vibrating in this universe (recall the process of grilling sweetfish with far-infrared rays).
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As for what the Yangti Nakpo mentioned above is, I hope you will read 'Archaeology of the Spirit.'
The arrangement of the deities here is as follows.
“The forty-eight peaceful deities are 'enshrined' in the nerve plexus centered on the heart chakra, and the fifty-two wrathful deities are 'enshrined' in the nerve plexus that forms the cerebral space—this is the image, but in reality, when you remove the avatars of the gods, the group of peaceful pulses centered on the heart and the group of wrathful pulses filling the cerebral space form an important part of human existence. ”
It is interesting that the unique resonance state/howling state between the group of peaceful pulses centered on the heart and the group of wrathful pulses filling the cerebral space described here is precisely what it means for a human to exist (including the feeling of doing so and the sense of agency).
This is quite difficult to illustrate, or rather, it feels like any illustration would be wrong, but both the group of peaceful pulses centered on the heart and the group of wrathful pulses filling the cerebral space are likely just one or two of the patterns created by the resonance and howling of the immeasurable, countless, and diverse vibrations that 'fill' the 'Dharmadhatu' at a higher level.
“In Dark Meditation, the preliminary practices are organized based on the Thogal performed centered on the crystal tube connecting the heart and the eyeballs, and furthermore, a unique dark yoga that shakes the cerebral space is incorporated on top of that. For this reason, in Yangti Nakpo, an empowerment (abhisheka) is performed that gathers all one hundred wrathful and peaceful deities.”
Kanjō (Abhisheka) is (though this summary might be too crude) a matter of the practitioner who meditates and practices yoga bringing their body, speech, and mind into a state of resonance (samaya) with a group of silent pulses centered on the heart and a group of rage pulses filling the cerebral space, and beautifully harmonizing that resonance with even higher-order vibrations that 'fill' the 'Dharma Realm' as it is.
The phrase heard in Shugendo and Esoteric Buddhism, 'The sound of the conch of samadhi, preaching the wonderful Dharma of the One Vehicle, through the ears extinguishing delusions, one should enter the gate of the letter 'A'', might also be said to be the excitation of the 'body' and human consciousness (the eight consciousnesses) to enter this state of higher-order resonance (though I don't think one can say that definitively).
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What appears here and there like this is the difference between countless wave patterns of different aspects, which could be called 'resonance' or 'howling'.
'Dazzling Darkness'
Following the aforementioned Kanjō, one proceeds to create a 'dark room.' Since the method for creating this is described in detail from page 320 of 'Archaeology of the Spirit,' those who own vacant houses or the like might want to refer to this when renovating.
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Now, from page 328 of 'Archaeology of the Spirit,' a section titled '30 Dazzling Darkness' begins. Nakazawa's dark meditation lasts for seven days, and he says that the menu is different for each day.
Day 0: Exciting 'Light'
Once all preparations are complete, one first enters this dark room.
This day is not yet counted as the 'first day.'
One performs the first meditation here.
That is, calming the movements of the discriminating mind, and while feeling the state just before the discriminating mind divides and solidifies things—a state that is loosely solidifying or not solidifying, yet not 'nothing'—a 'state of being and not being,' a feeling as if discrimination and non-discrimination are overlapping, one determines that the various things that the discriminating mind carves out as 'that which is nothing other than itself' are things that lack self-nature. Then, in that state, one practices the yoga of the '
eyeballs' as follows.
'[...] the empty space about 50 centimeters above the space between the eyebrows, while rolling the eyeballs back, one continues to stare fixedly. As one continues this meditation posture, the space around the body begins to feel as if it is swaying, and before long, something burning like fire appeared at the edge of the eyeballs. Something like a white cloud appeared, and light of various shapes appeared and disappeared one after another [...]'
In the pitch blackness, 'light' begins to be seen immediately. Where there is pitch-black darkness to normal vision, 'light' flickers.
Light / Dark
In a mode different from normal vision, which is only one or the other of these, something different from what is normally seen as 'light' is being seen. This is the beginning of 'dazzling darkness.'
In this state, Nakazawa says he fell asleep in the darkness.
Day 1: Simultaneous Generation of the Crystal Palace within the Cerebrum and the 'Third Eye' that Observes It
And the next morning.
Even in the dark room, one knows it is morning by hearing the voice of a rooster.
'(In the darkness) When I open my eyes, I see something like thin threads in the darkness. The threads form a fine mesh and are connected, and they spread across my entire field of vision. It is as if a fine net is stretched throughout the space. [...] The knots between the threads look slightly swollen, so it also looks as if many small jewels are connected by threads and hanging in the air.'
It is just like 'Indra's Net', but more on that later. Mr. Nakazawa writes that this looked like a 'tea strainer' to him.
Here, a hint is given by the voice of the master outside the dark room.
Imagine that inside your cerebrum there is a transparent palace in the shape of an inverted conch shell made of crystal.
Imagine that the interior of the palace is untainted by materiality, forming a single sphere while emitting five-colored light.
Imagine that 'an eye of primordial intelligence with a wrathful expression appears between your eyebrows and peers into your cerebrum'. (Shinichi Nakazawa, 'Archaeology of the Spirit', p. 331)
This means that 'the eye of the primordial intelligence, which is the primordium of the mind yet transcends the mind', is 'observing the inside of my cerebrum intently.' (Shinichi Nakazawa, 'Archaeology of the Spirit', p. 332).
AI-generated image
Migraine sufferer, this is a tense picture for me.
If the cerebrum is the place where 'discrimination' takes place and where the 'discriminated' things are arranged and stored, and if normal vision follows this discrimination, then could it be said that the third eye generated behind the eyebrows 'sees' this cerebrum-normal vision discrimination system itself?
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This practice of perceiving the crystal palace in the brain and the third eye between the eyebrows is said to be called 'The single eye of primordial intelligence is free of defilement'.
Normal discriminating vision takes the trouble to distinguish between 'Pure / Impure', discovers various impurities, seeks and clings to the pure, and clings to separating itself from the impure.
In contrast, is the single eye of primordial intelligence, which stares inward at the cerebrum from between the eyebrows, looking at this discrimination—outside of the discrimination of pure/impure—at the very moment this pure/impure is discriminated, at the place where it is neither discriminated nor not discriminated?
Day 2 and Day 3: Adding two eyes synchronized with the 'heart'
The second day also continues from the previous day, starting where the mesh of light threads is visible. From the second day, the challenge becomes to transcend the mind that tries to think of the luminescence in the 'internal space' and the 'manifestation of the phenomenal world in the external space' as two separate things.
In the second day's practice, first, 'the eye that stares into the brain' is added to one (the one created between the eyebrows the previous day), and two more are created. These two eyes seem to be created behind the normal eyeballs, and they are things that feel the light from the pulse of the 'heart' thought of as an 'avatar of the peaceful deity'.
"When you focus your consciousness on the nerve plexus of the heart, it begins to glow. We consider that forty-eight deities of silence dwell there. These represent [...] the types of vital pulsations (pulses) that gather in the heart."
In other words, the two eyes created on the second day are what could be called a bundle of frequencies that resonate, vibrate, and synchronize with the gentle (long-wavelength) pulses called the 'heart' or the 'forty-eight deities of silence'.
It reminds me of an anime I saw as a child, where a person who kept repeating 'Nemo-kun' turns into a pillar of salt.
How should I put it, it's ominous.
And on the third day, the act of 'gazing into the inner palace of the brain with a total of three eyes: the eye between the eyebrows that appeared on the first day and the two eyes on the left and right that appeared on the second day' is performed. At this time, one 'views' the state where 'fifty-two wrathful deities are appearing in the inner palace of the brain'.
"Compared to the vital activities of other body parts protected by the cushions of various life mechanisms, the intellectual pulsations occurring within the brain are more direct and intense. We capture those high-intensity pulses with the avatars of the fifty-two wrathful deities."
By doing this, the figure of the discriminating mind, which carves out intensely repetitive rhythms within the brain, is made to echo with the gentle pulses of the heart, slowing down the speed of that intense 'wrath' so that it can be 'viewed'.
Day 4: Making eight eyes and seeing the web of light inside and outside the body
On the fourth day, five more eyes are generated, and together with the previous ones, one 'fills the inner palace of the brain with light' using eight eyes (p. 335).
"The inner space of the brain was filled with the light emitted by the eyes, but this light began to fill the body as well, and that light began to weave a fine web of threads. It seemed as if there was a small eye at the center of each mesh of the web, and it was as if the whole body was being covered by a tea strainer of light. A web of spider threads made of light was also spread around the body."
The third eye deep between the eyebrows and the two eyes that synchronize with the heart's pulses work together to spread a web of lines of light into the brain, inside the entire body, and even around the body.
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Here, Mr. Nakazawa cites the scene depicted in Kenji Miyazawa's 'Indra's Net' and writes as follows.
"For the Buddhists who wrote this scripture ('Avatamsaka Sutra'), the experience of 'Indra's Net' was by no means a mere product of imagination, but was deeply connected to real experience. They tried to depict the Dharmadhatu as a space covered by countless fine webs of light, but might this not have been rooted in the light phenomena they were actually experiencing within their brains?"
If you are interested, please pick up a copy of 'Archaeology of the Spirit'.
Day 5: Creating an eye in the heart as well
By now, eight eyes have been gathered in the head, but on the fifth day, a new eye is created in the heart. The way to create it is by 'quietly organizing the nerve tissue gathering in the heart region' (Shinichi Nakazawa, 'Archaeology of the Spirit', p. 337).
With the emergence of these eyes, the eight eyes that resonate with the cerebrum (the entanglement of high-intensity pulses expressed as wrathful deities) and the one eye of the heart (the gentle pulses expressed as peaceful deities) come to face each other, looking at one another.
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Here, so to speak, the unique vibration frequencies of vision in the two domains of the cerebrum and the heart resonate, and they begin to leap out as light from the empirical and sensory eyes of the 'eyeballs'.Here, so to speak, the unique vibration frequencies of vision in the two domains of the cerebrum and the heart resonate, and they begin to leap out as light from the empirical and sensory eyes of the 'eyeballs'..
At this time, the eye of the heart is 'one,' and the cerebrum is 'eight.'
'One' and 'eight' are inseparably connected yet divided within a single body.
Brain (resonance of high-intensity pulses) ** Heart (long-period gentle pulses) ↓ ↓ The 'unique natural frequency' that enables the 'eyeballs' to resonate with light in a certain region of the external world
Day 6: Light overflows, entangles, and becomes a great vortex
Indra's net becomes invisible, and the high-frequency vibrations (so-called light) from the 'brain' and the 'heart' collide violently, becoming amplified and forming complex synthetic waves, which become prominent.
It is a feeling of light overflowing.
On this day, Mr. Nakazawa receives the following words from his master.
'You will clearly see that your own existence is light.'
For a human being's existence to 'be light' means the following.
'From around the hypothalamus deep in the brain, a cloud of light began to spread hazily, and it began to form a vortex and rotate clockwise. When a light shock ran through my brain as if something had 'popped,' the cloud of light split into a seven-colored spectrum and began to rotate at high speed.'
Is it perhaps the feeling of my own brain being filled with rotating 'light' and a resonant state of vibration patterns?
No, rather than 'my brain,' which exists (or does not exist) from the beginning, being filled with 'light' that came from the outside in a secondary, retrospective manner, it might be more like there is a pattern like a rotating donut of light, and in the gap in the middle, 'my brain' emerges with only its outline visible.
From this rotation, the way light 'tears off' and scatters into the surroundings also emerges in the total of nine visual states of angina.
'I saw another mass of light tear off from the rotating cloud of light and jump out, floating still in the space on the right side of my field of vision.'
After seeing this kind of 'light,' this mass of shredded light and the rapidly rotating cloud of light 'suddenly disappear,' and nothing can be seen anymore (p. 339).
Day 7:
It is finally the last day.
“The surrounding space is pitch black and nothing can be seen, but I imagine that it has transformed into a pure Dharmadhatu.”
I realize that the dark space where the 'lights' that were vibrating and resonating intensely seem to have vanished is, in fact, the 'pure Dharmadhatu.'
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And at dawn on this day, the door to the dark room is opened, and the light of dawn gradually shines into the room. The description around this part is very lovely, so I highly recommend reading 'Archaeology of the Spirit'.
Here, Mr. Nakazawa writes that upon seeing lizard eggs born in the garden of the hut where the dark room was set up, he felt the following.
“At that moment, I was deeply moved by the realization that these lizard eggs and myself were the same life, that life is light at its source, and that light is nothing other than the movement of Rigpa emitted from the Dharmadhatu, and that the lizard eggs and I belong to the same vibration of the Dharmadhatu at the source.”
The same life. In the primordial light, 'I' and all the various lives placed on the side of the 'non-I' are the same at the source, not different; both are variations of the pattern of the 'same vibration of the Dharmadhatu'.
While 'seeing' this vividly with vision, one can also synchronize with it on the linear arrangement of words.
Seeing with vision is also a resonance of the undifferentiated self and other among the diverse patterns of the 'same vibration of the Dharmadhatu,' and thinking with language is also a resonance of the undifferentiated self and other among the diverse patterns of the 'same vibration of the Dharmadhatu'.
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Here, Mr. Nakazawa cites the term 'primordial assimilation' used by Lévi-Strauss in his discussion of the passage written by Rousseau: '...I had not the least idea of myself as an individual... I felt a blissful stillness in my whole being [...]' (p. 343).
“[...] In the darkness, the practitioner will experience the light of Rigpa, which forms the source of all life, with the utmost vividness, and thereby be convinced of the principle of primordial assimilation that oneself and all other living beings (sentient beings) are not different existences. This conviction is not brought about by a mere coincidence, but through a certain ideological, physical, and technical system, and there is a possibility that it can be brought to all people who have 'awakened their hearts' without discriminationthat all people who have 'awakened their hearts' can receive without discrimination.”
To 'vibrate with the Dharmadhatu' and to 'primordially assimilate (enter a state of resonance/Samaya)' is not something that occurs by 'mere coincidence,' but by learning and practicing an 'ideological, physical, and technical system,' it is possible for 'all people' here and now.
In other words, by tuning the frequencies of their vision, voices, breathing, various bodily states, language, and the entire realm of human existence—which itself is a deceleration of entangled vibrations—so that they can resonate with the primordial vibration patterns of the Dharmadhatu without interference or cancellation and by synchronizing and resonating with the same vibration patterns, we can vividly know, while still living here and now, that we are no different from that primordial pulsation.
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What is interesting here is that, perhaps, our 'language' too, if tuned correctly, can faintly resonate in just the right way with the primordial pulsation of the Dharmadhatu, which is the Great Universe itself before the segmentation of universe and non-universe, is what this means.
Words, and their logic, can also be small 'antennas' that make this resonance possible.
The 'Mythologiques' analyzed by Claude Lévi-Strauss in his vast collection of myths unfolds with the pulsation of the separation and combination of words, which is precisely 'this.' For example, the myths introduced in the article below are also of this nature.
The myths in this article are the same.
Words are lifted into a state where they are a certain 'that,' while simultaneously being 'not that,' yet ultimately 'being that.' Several such words, gathered in a minimal configuration of four, approach and recede, separate and combine, tracing a 'pulsation' of a high-vibration state. And it is precisely this pulsation that harmonizes and resonates perfectly with the Dharmadhatu, which neither divides nor fails to divide the universe from the non-universe.
Here, 'words' are also an organ for 'seeing (contemplating),' and vision is also 'words'—specifically, 'words' in a state where the law of excluded middle is made to tremble.
And 'I' becomes like an 'antenna' (is excited) capable of resonating with the pulsations of diverse vibration patterns.
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