The idea here is that similar patterns used in construction of mandalic interpetations, serve to illustrate model applications, that when bleeding, overlap experiences, whether they be drean information gathered, or, historical correlations, these struck me as significant.
This is not to say that all people who dream will be good mathematicians, just that the road to cogitive realization held in context of Ramanujan should be seen as the developing subsconscious as a very important tool in moving the cogitive revelations that the creative mind can utilize, in developing math models for the future?
THatpattern had to be understood a dLimincentric structures as well. If you didn't you would not have seen the importance of the schematics that Liminocentric structures reveal of themself as mandalic models of intepretation.
A Tribute to Hinduism
The inexhaustible Ramanujan was an observant Hindu, adept at dream interpretation and astrology. His work was marked by bold leaps and gut feelings. Growing up he had learned to worship Namagiri, the consort of the lion god Narasimha. Ramanujan believed that he existed to serve as Namagiri´s champion - Hindu Goddess of creativity. In real life Ramanujan told people that Namagiri visited him in his dreams and wrote equations on his tongue.
Ramanujan could never explain to G H Hardy how he arrived at his deep insights in mathematical terms; but he did say many of his discoveries came to him in dreams, from the goddess Namakkal, and that he had a morning ritual of awakening and writing them down.
Having heard of Ramanujan method of information gathering, it was interesting from the standpoint of how the consciousness could organzed itself and bring forth abstract notions(jumbling experiences in that dream world), to have the method of mathematical explanation bear tangible proof in our reality now.
This is of course are some of the ideas I have around cognitive recognitions of getting to the source of creation and bringing back tangible equative solutions.
Perhaps it is of some use for a example to better understand this?
While journalling for many years and recording my dreams, I came up with what I called "dream poetry," because I wanted to try and catch the rhythmn and story behind it as best I could without subjecting it to the scrutinization of my mind and analysis.
Of course having a pen and paper beside the bed was always good advice. There was always a definite difference in the lucidness of those dreams, that seemed to indicate this past life referencing, then the normal dream periods.
Also by doing this "awareness of the dream time" it became very pronouced in terms of the recall before getting busy with the day.
Since ancient times, Mandalas have been used for meditation and healing. In old Tibet, Mandalas were used in the process of training the mind to be quiet, so that That Still Place Within was more easily accessible.
It was said that the Divine lives at the center of the Mandala. With that in mind, the Mandala was used as a focus point for meditation.
As the mind quiets and becomes still, the meditator finds the Divine at the center of his own being.
I read about this use of Mandalas years ago. When this series of designs came through me, I realized that that was the intent within them: that the Divine would reside at each design's center.
Research I've done indicates that Mandalas are the visual forms of the resonance traces of specific frequencies of sound/light. Some pretty amazing research done by Hans Jenny shows that if sound is transmitted through a thin layer of sand on a metal plate, the sand vibrates in such a manner as to create designs in the sand, the patterns shifting with the sounds transmitted.
If one wanted to pursue it further then it makes sense that the Chaldni plate becomes a interesting piece of equipment in analyzing the nature of such vibrations. A balloon dipped in a dye solution and subjected to different sounds, has an interestig perspective to it.
Nodes and anti-nodes
On beautiful mandalic designs see: