We are used to seeing life in a lackluster, flat way. In order to understand this, it is necessary to imagine a possibility that Petah sees everything in a flat, one-dimensional way, instead of seeing a car in three dimensions, it is seen as a flat silhouette. It is hard to understand that the life we envision and take part in is indeed deep, hidden and multidimensional. And it is even more difficult to understand that what we see is only the lower part, the projection of what is really happening.
And not only that we see the one-dimensional flattening of what is happening, we are convinced that apart from what we perceive as a silhouette, everything else is a matter of fertile imagination. This is similar to a person who does not hear sentences and words, only noise. The noise is the one dimension of speech or conversation. Producing words and sentences from the noise is the additional dimension without which the conversation, as mentioned, would be just noise.
And this is how we live our lives, experiencing noise where there are sentences, syntax, words and a story.
What has been written so far is difficult to accept or understand. And so I will use plenty of examples here and start with the geometric example:
The relationship between a geometric body (triangle, cone, square, circle, rectangle, etc.) and the silhouette it casts will always be the relationship between a two-dimensional body (the geometric body itself) and a one-dimensional body. (the shadow that body casts).
And Plato already referred to this, in the example of his cave; The state of mind of humans is likened to people living in a cave under the surface of the earth. They sit with their backs to the mouth of the cave, so they can only see the inner wall of the cave. Behind the people a fire is burning, and in its light the shapes of passing people cast shadows on the cave wall. The cave dwellers see only this theater of shadows. Since they sit like this from the moment they are born, they believe that these shadows are the real and original world.
C:\Users\Gabi\Pictures\Cave 2.png
Illustration of the Parable of the Cave
Likewise in our lives, we can understand or perceive – conversation, behavior, personality, prose, article, etc. – in a one-dimensional (silhouette) or two-dimensional (seeing the body that casts the shadow) way. The one-dimensional relationship refers to the dry fact, while the two-dimensional relationship refers to what is hidden behind the fact (the body that casts the shadow). It is allowed to say that it is easier to be satisfied with the one-dimensionality of the shadow, and you have to swim against the current (but more on that later) to be exposed to the two-dimensional body that casts the shadow. The distance between one-dimensionality and two-dimensionality is a distance of complete inversion. And so it is also possible to call any transition between a low and a high level – a ‘turning point’.
But let us focus on the first transition between levels and refer to a specific example – a conversation. Well, as mentioned, the conversation can be perceived in a one-dimensional way, which means that the words that are spoken are meant for themselves and do not represent anything other than themselves. If a person tells what happened to him, for example, in a minor car accident; It is possible to grasp what he says – in a flat and one-dimensional way, meaning without depth, intention or subtext – behind them, only the dry facts. For example, “I left the parking lot at such and such an hour and then I reached the intersection, a truck emerged from the left” etc., etc. A two-dimensional relationship will be the absorption of the emotional layer. How he felt then and how he feels now about these facts. What is his attitude towards what he says?
Here, body language is the medium through which the two-dimensional level is conveyed. And if we return to the first example, then the words alone will be one-dimensional (the silhouette), while the body language will project and transmit the hidden, emotional and personal dimension – which takes place behind the words and gives them depth and an additional dimension. For example, the person telling about the accident – at some point his forehead is covered with beads of sweat (can transmit pressure, stress). Or he joins his legs and arms in a contracted and gripped manner (he may be tensed). or a slight expansion of the nostrils (can transmit anger, or irritation). It is important to note that the accuracy of the interpretation is less important than the actual attempt to give an interpretation (to measure what is happening in a person on the mental level).
And going back to the first example, a cylinder and a cone will cast the same shadow (circle). And you can’t learn about the shape itself, through the silhouette. To stand for the nature of the geometric shape of the body (cone or cylinder) – which cast the shadow – one must refer to the body’s dimension. The first dimension, then, is the dimension of space. The next, two-dimensional level is the body dimension.
If we use the parable of the Garden (Pasht, Raz, Darsh and Sod) that 4 sages entered and only R. Akiva came out of it unscathed – then the level of Hash is the one-dimensional level of space, while the level of Harez is the two-dimensional level.
So much for the transition from one-dimensional to two-dimensional. The next dimension, the third dimension (sermon level) is time: how does the person we are watching (or ourselves) – organize his words and his body – in terms of time? During the conversation, does his body position change, and at what distance from the beginning of the conversation does this occur? When he enters the conversation and when he leaves it. How densely does he speak – the size of the spaces between words, and when does it become denser and when more spacious? When is there a pause? As he speaks, does the pace of his words increase or become more sparse? And when does it happen? How fluent or full of pauses is the speech. At what point in the conversation does he raise his voice and how long does his voice stay high? Is there silence, and if so when? At what stage of the conversation does he choose to enter it. And how much time does he take to explain his words (in relation to other speakers)? The more time he takes for himself – the more his relative territory – will increase. (Some research on men-women relationships through the dimension of time revealed – that in a mixed group, of men and women – the men talk between 70 and 80% of the time, leaving the women only a third of the conversation time).
The perception of the use of time gives us the third dimension, a three-dimensional perception of what was said. This concept is rare and requires a much higher than average level of awareness from the person (active awareness).
And now we reach the last dimension, the fourth dimension. In Paradise this is the secret level. If the previous ones were what was said (one-dimensional) and how it was said (body language and timing) – then here we come to what was not said. what is missing
For example, the iceberg that sank the Titanic:
If at the first level (the one-dimensional level) the glacier is depicted from a distance as a line.
After all, in the next level, the two-dimensional level (together with the approach of the ship to the ice
Gabriel