Lewis Rowell (1979) suggests that in Indian literature, cosmogenies often proceed in cycles: primal matter is split and differentiated, and, after distribution and arrangement, is maintaned or held open in ordered time, then melted, or dissolved back into matter. “Kala," which would appear here with an umlaut over the the second "a" if pbwiki supported diacritical marks, "is connected with the first phase by its function as that which divides,” or cuts, “Kala," which, in written form, requires an umlaut above the first "a" to be distinguished from cutting, "is similarly connected with the second phase, that of motion maintained” or held in balanced equipoise (samya) “in ordered time; and laya,” the space between the beats, the rests that determine the tempo and leave a sequence open for interruption, collaboration, and transformation through rhythm, involves “the dissolution back into elemental matter” (p. 100). For millenia, and worldwide, Kalā-Kāla-Laya and it's variations have guided rhythmic arts in sound and dance. John Coltrane's music compresses this rhythmic compound and pushes it farther and farther from equilibrium. Kala-kala-laya encodes complex rules for action into a simple, repeatable mneumonic, and as such, it translates into a useful kernel for elaborating and sharing the case-based rhetorical guidelines we leave in our wake when we regulate the arses and theses of text-image-sound topographies of information online.

laya

Similarly, Anarika Govinda tells us that adepts training in the art of Tibetan Buddhist meditation must weave the productive phase of meditation, sristi-krama, with "the process of dissolving, of integration" known as laya-krama (p.105). "The instrument of human consciousness, like a musical instrument has to be tuned anew continually, and this tuning depends on the knowledge of right vibrations, on the capacity of perceiving their relationship, which requires a high degree of sensitivity and devotion" (p. 107). The Kalachakra system, presents space as a supporting element, "not as total nothingness, but as a medium of 'empty particles,' or 'space particles," by The Fourteenth Dalai Lama's reading of Buddhist cosomology. "This space element is the basis for the evolution and dissolution of the four elements, which are generated from it and absorbed back into it" (The Universe in A Single Atom, p. 85). Even though "space, with its empty particles, is the basis for the whole process" of evolution and dissolution, The Dalai Lama allows that "the term particle is perhaps not appropriate when referring to these phenomena, since it implies already formed material realities" in a description that posits the basic elements as potentialities (p. 86). "Unforutnately, there is little description in the texts to help define space particles further" (p. 86).