Tertium Organum (P.D. Ouspensky) · 67 of 225 · tr. Nicholas Bessaraboff and Claude Bragdon
Chapter IX (part 2)
This happens because we never feel anything at a long distance, and the eye has not been taught to discern the difference in surfaces which at short distances are felt by the finger-tips.
1 p.
100 We can never see, even in the minute, any part of the outer world as it is, that is, as we know it .
We can never see the desk or the wardrobe all at once, from all sides and inside .
Our eye distorts the outside world in a certain way, in order that, looking about, we may be able to define the position of objects relatively to ourselves.
But to look at the world from any other standpoint than our own is impossible for us, nor can we ever see it correctly, without distortion by our sight.
Relief and perspective—these constitute the distortions of the object by our eye.
They are optical illusions, delusions of sight.
The cube in perspective is but a conventional sign of the three-dimensional cube, and all that we see is the conditional image of that conditionally real three-dimensional world with which our geometry deals, and not that world itself.
On the basis of what we see we surmise that it exists in reality.
We know that what we see is incorrect, and we think of the world as other than it appears.
If we had no doubt about the correctness of our sight, if we knew that the world were such as it appears, then obviously we should think of the world in the manner in which we see it.
In reality we are constantly engaged in making corrections.
It is clear that the ability to make corrections in that which the eye sees demands, undoubtedly, the possession of the concept, because the corrections are made by a process of reasoning, which is impossible without concepts.
Deprived of the faculty to make corrections in that which the eye sees we should have a different outlook on the world, i.e., much of that which is we should see incorrectly; we should not see much of that which is , but we should see much of that which does not exist in reality at all .
First of all, we should see an enormous number of non-existent motions .
Every p.
101 motion of ours in our direct sensation of it, is bound up with the motion of everything around us.
We know that this motion is an illusory one, but we see it as real.
Objects turn in front of us, run past us, overtake one another.
If we are riding slowly past houses, these turn slowly, if we are riding fast they turn quickly; also, trees grow up before us unexpectedly, run away and disappear.
This seeming animation of objects, coupled with dreams, has always inspired, and still inspires the fairy tale.
The "motions" of objects, to a person in motion, are very complex indeed.
Observe how strangely the field of wheat behaves just beyond the window of the car in which you are riding.
It runs to the very window, stops, turns slowly around itself and runs away.
The trees of the forest run apparently at different speeds, overtaking one another.
The entire landscape is one of illusory motion.
Behold also the sun, which even up to the present time "rises" and "sets" in all languages—this "motion" having been in the past so passionately defended!
This is all seeming, and though we know that these motions are illusory, we see them nevertheless, and sometimes we are deluded.
To how many more illusions should we be subject had we not the power of mentally analyzing their determining causes, but were obliged to believe that everything exists as it appears!
I see it; therefore this exists .
This affirmation is the principal source of all illusions.
To be true, it is necessary to say: I see it; therefore this does not exist —or at least, I see it; therefore this is not so .
Gurdjieff and Ouspensky's claim that ordinary human beings live in a state of waking sleep, reacting mechanically without unified will or consciousness, and that the spiritual path begins with recognising this condition.
[auto] The passage describes how humans automatically accept sensory illusions as reality without conscious correction, illustrating the mechanical state of ordinary perception central to Ouspensky's teachings.
Using apparent contradiction, reversal, or riddle to destabilise ordinary understanding and induce insight.
The text concludes with a paradoxical reversal ('I see it; therefore this does not exist') to destabilize habitual reliance on sensory evidence and induce insight.