by Sight and creative imagination
The Step Two mental training exercises are designed to enhance students’ concentration. This is achieved by isolating the five senses and applying specific techniques to each sense. These techniques help separate normal sensory perception from imaginative perception, allowing for a more focused experience.
Direct perception happens when sensory stimuli are transformed into nerve signals that travel to the central nervous system. We can hold onto these stimuli for just a brief moment. After that, three things can occur: the information may be mentally repeated because we find it valuable and it stays in short-term memory; the information may be discarded and lost; or the data may be transferred to long-term memory if it is connected to an emotion, motivation, or other relevant factors.
Now, the system behind the concentration exercises plays a crucial role. When we manage to overcome the brief effects of our perceptual mechanisms and consolidate sensations or perceptions beyond their fleeting moments, they remain in short-term memory. With practice, these moments can become part of long-term memory. At this stage, we can recall experiences through images without depending solely on sensory impressions. This ability enables us to manipulate memory acquisition, transforming it into an autonomous entity that is free from objective perception. We then reach the threshold of creative imagination, which is essential for hermetic development.
In this section, Bardon does not address the connection between the Elements and the sense organs; however, understanding this relationship is crucial for overcoming any challenges you may face during your practice. If a particular Element is weak in your constitution, as revealed by the mirrors’ method, it can hinder your ability to concentrate through the corresponding sense organ. In such cases, it’s important to deepen your work with the mirrors, focusing on strengthening the relevant Element. Additionally, practising self-suggestion can be beneficial.
| Element | Senses | Corresponding organ |
|---|---|---|
| Fire | Sight | Eye |
| Ākāśa | Hearing | Ear |
| Air | Touch | Hands; skin |
| Earth | Smell | Nose |
| Water | Taste | Mouth, taste buds |
Another important consideration is the separation of the senses. In the practice of sensory concentration, one works with one sense at a time. For example, if you focus on a sound, you don’t need to associate it with the image of the object that produced it; your attention should remain on a single impression to foster the creative development of each sense. Only once the senses have been strengthened individually will one begin to experience multisensory imagination in Step Three.
The practice
Let’s begin with a practical exercise. Place a simple object that isn’t too detailed in front of you, such as a knife, fork, or pen. Carefully observe its shape, colour, and size. Then, close your eyes and visualise the object as it truly is. Repeat this process for about ten minutes, trying to maintain the image for a little longer each time. Initially, the image may only remain clear for a brief moment, but with practice, it will become more vivid and enduring. If you have additional time, you can continue the exercise by switching to a different object. The goal is to hold the image for five minutes without interruption.
Once the goal has been achieved, we move on to the next phase of the exercise, which involves maintaining the visualisation of the object with our eyes open. This concentration can be challenging for many people, primarily due to distractions from the external environment. To make the transition from closed to open eyes easier, we can start by practising visualisation in a dimly lit room and gradually increase the lighting until we can work comfortably in a fully lit environment.
Alternatively, we can practice visualisation on a white or black surface to minimise distractions. Another method is to keep our gaze slightly out of focus while imagining the object. We can begin the visualisation exercise with our eyes closed, then open our eyes and allow the imagined object to float in front of us. We can conclude the exercise if we can maintain the visualisation without disturbances for five minutes.
One aspect that has puzzled some of Bardon’s students is the interpretation of a passage concerning visual concentration. Bardon states, “… the object should give the impression of being suspended in the air and be visible before your eyes in such a plastic shape as seemingly tangible.” This has led some to believe that the imagined object must take on a semblance of reality to the point of being visible to the physical eyes. However, this is not the primary goal of the exercise.
When practising at the mental level, the image should be vivid in the mind. Just as we can vividly imagine an object with our eyes closed after a period of refinement, we can achieve the same with our eyes open. The challenge is that visual distractions with open eyes can lead us to overemphasise the need for tangible visualisation. It is important to remember that this exercise aims to create a mental image of our choosing through focused concentration.
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