These horses Five are a powerful representation of the QUINTETION. As this breathing sequence-concert plays — each horse (as each five instruments below) will take its turn in the lead position. (Still seeking the artist of this unsigned work. Inquiries not returned. If you know let me know.)


We know our five senses (sight-hearing-touch-taste-smell): touch with its five-fingers and opposable thumbs works well in the middle, Then, the four seasons -Summer-Autumn-Winter-Spring (SAWS)–and we live in each the Fifth Season, which is the coalescence of all four into a WHOLENESS FIFTH, which is wholly alive in each season as within a year that unites them all. (In SYMPATHIES I played this Quartet as a Quintet by the use of “silence” in “resonance” just as this 5th play with each season: this was the origin of “Pause” in AUGURIES and The Presentation, below.) We also know of the five-beat Iambic Pentameter in poetries. We talk of 5 stars not just 4. Particle physics has what’s called the “5 stigma standard” as a measure to claim a discovery to have substantial significance. Everything from five fingers to five bars of music to the Quintessence of Life. So, let’s give it a name! QUINTETION will do as it says five-quintessence-coalescence-action-music–instrument/played-composition, wholistic, etc. Already, I’ve used the germ of this term as The Fifth Freedom of Creation — as Quintion. From my writings it has formed as THE term for a wholistic concept I keep coming back to and expressing. It helps to begin by conceiving/comprehending it in terms of a Fifth Season, as that whole year, which carries as a spirited resonance — in all seasons. Like a primal tincture. This is then (Five-Senses-SAWS(Q) with parentheses showing the HOLD/WHOLE of all. This should be clear. (In AUGURIES, I used the term PENTAMEROION as the quintessential BREATHING pervasive in al aspect of creature-life forms and consciousness as well. (Readers are encouraged to keep the Five Horses in mind along with the Tear Drop Monument picture at the end of this article.)

Here, all forms into a QUINTETION, because I wanted to let each “instrument” play instrumentally/vocally– in concert performance. This breathing concert-sequence is the core of this article. Alas, I’m learning as I go. Refinement is an epistemological evolution in these poetries of a new spirituality. We see blackholes in the stir of our communion cups today. We witness galaxial collisions midst our altar pieces today. We, daily, engage the mystery of gravitation in our covenants — fluxions in our axioms: Big Bounces in our Big Bang and tremulous oscillations in our orisons, today! “The old gray mare she ain’t what she used to be! — Many long years ago — She kicked on the whiffletree — Many long years ago!”) Time to revise/revive our gait & kick so we can pull/advance the old plow/carriage of life. That whiffletree’s twixt our harness and the plow. It’s changed, too. New kicks are due. BREATH may be older than time, but each age has to catch its breath anew on the line: re-shape the wiffletree, refreshen our kicks on it as we power ahead

The term QUINTETION (for that “new-kick” glossary) inhales all above thoughts and exhales and names the breathing at work in the poetries of a new spirituality we are. This Fifth Dimension is a “spiritual/breathing/resonance” coming from religion, alchemies, Big Bang Physics, spirituality, personal discipline, and, of course, the primal structural designs of existence — like five fingers and toes, creaturely bodies with four extremities, etc. I’ve used the terms ODDIONS to refer to the numbers such as 3-5-7-9-11; such numbers represent the power of the natural world to have polarities attract to create a third reality. Such is the power of anything trinitarian based. Such is the power of quintessence– the Aether which traditionally was that fifth element that holds the four — air-earth-fire-water. (Some added “wood” later as the fifth to form the quintessence, but I include it with all other organic life as Earth. ) Each of these “five” Oddion numbers has great significance in our sense of existence. All are “magical” because “nature-structural.” Three 3’s make the Muses Nine. And don’t forget the 11th hour — that final moment to still create order — threshold/passageways that save/hold/sustain the hope. The pervasive Magical 7, I’ve discussed already. (That these five add up to 25, I will leave to the numerologists to wrestle. It’s called by some as the Angel Number of Introspection. That’ll do. We are under serious introspection as a species. And this is all directly connected to the “A” as discussed in The Glossary — as it is that pause space in palindromes and polarities that breaks the static symmetry into those odd numbers/relationships — like 5 — necessary for creation and a Holism that’s dynamic as a Holion.) And, there’s that five-second-pulse-beat between each minute. Now for that deep-breath insider-look into the QUINTETION.

What I’m to describe here is integral ( read…as 5th Sigma Standard ) to the ANSWER — A New Spirituality We Are and all “breath-philosopoetries” of this site and my writings. Primal tincture — like five fingers and five week-days. In AUGURIES I first presentation-discussed AFFLATUS WAVE YOGO: in a word — AWAYGO action it is. It is simply our natural breathing seen as a disciplined consciousness of this body-physical-spirit action. If I were to do a video (though I’d best pick a more attractive body person), I’d demonstrate how this breathing “concert” is translated into physical hand gestures — like crossing-ones-self, Tai-Chi-like movements, and yoga-type positions. I’ll describe these, but first to the most essential breathing sequence, the backgrounds for which, I described in AUGURIES (p. 194-203). The AWAYGOION is the amalgam for Afflatus (as primal/epiphanic-inflation from aspir-inspir-respir-ation)-WAVE (Wonders-Ariel-Vitruvian-Expression)-YOGA (physical covenant-hold position). [ Briefly — the tandem Ariel-Vitruvian refer to the blend of the Magical-Human.] Many of my terms encase the ION and sometimes the OION. ION is from the Greek meaning “going.” Thus it always entails ACT-ION-VISION .( and the future’s “next” — thus AUGURAL, too.) Examples are many: nation, innovation, mutation, evolution, transition, radiation, fusion, gravitation, collision, inflation, ambition, etc. Normally a suffix (suffixion), but, quite importantly, a noun-verb-process in the sciences. And, I must admit at this stage of “creatION,” I am still a student in all this. I’ve no presumptions to fashion myself as a Freshly Spiritualized Guru, Internet Meditation Wizard, or some newly Lionized ION– Illuminati of Newness. Ah, those ICONIONS! There are many such. And many of such are good. I’m no replacement of such — though flourishing in the same arena as a seasoned member of the philosophical-poet club– with my APE ‘Apo’kstrophes’Pagaian Expression. (Just learned of the site GAIA, which I’ll keep an eye-on. It charges. I’m free. Check out my Pagaian on this site, which dates back quite some years, when I did Pagaian Flower Communions. Also, learned of an organization BREATH in England.) But, here, we are approaching the QUINTETION. Let the concert begin.

I began writing this on 9/5/18 just after climbing my 40 some stairs to my back deck. I’ve COPD and it was almost 100 degrees that day. Out of breath-over-heated, uncomfortable, I had to sit down and concentrate on my breathing, before I moved to do anything else. Because I live on this hillside, this is a rather common occurrence. Also, I incorporate (good word) it, as a discipline, throughout any given day — when driving, sitting-walking, and, of course, in meditation. Often, I find myself just doing it naturally most anywhere doing whatever — because I’ve built it in to my everyday breathing. All together it has a definite wave-like motion, which you must try to imagine, pending the video presentation. I will describe it.

To begin, I must give you the five-concert-sequence-breath-archway- instruments. Here they are:
Presentation– AH-HA — CHI — A-UM — YAHHH. As with all Oddions, there is a middle factor. Here it is CHI as the Keystone-Pivot-Primal Force. Remember, this is a breathing sequence primarily. The body-philosopoetries are somewhat built-in as we proceed. (Note: in some former printings I’ve used the J rather than Y as in YAHHH. I use the Y from here-on for pronunciation as it’s more natural for most.)

So breathe!! Begin always with mouth closed, lips tight, and diaphragm engaged. (Symbolically, this represents the fundamental attractive-hold force of plus-minus polarities.) Also, it demonstrates self-control and the disciplined internalization of one’s breathing, which can be without sound or gesture: just inside, and as gently silent or vigorously loud as one wants. Yes, silence and sound live together–but with the same force of nature.

1) All begins with the PRESENTATION ( Fr. Pronunciation preferred– pree-sen-tah-ci-on, because it carries the meaning and “ci” sound of “presencing.” That same “ci” sound is in “cons-ci-ousness.”). This is the most difficult to explain-comprehend. It comes between the final YAHHH expression and the new AH-HA. It is the “pause-soundless-nirvana-presence” — as two fencers offering their blades/foils in a “hold-tense”prior to “engagement.” I implied this dimension in AUGURIES, but didn’t develop it. Here I must. — Another word for it is CRADLE — as holding/rocking — a conscious-presencing of a new birth to come — and from which INSPIRES the inhalation/aspiration of AH-HA This silent hold requires homage and discipline to be recognized. So, even though it is a silent-hold — it must be honored howsoever slightly or fully, because it is that “tension-tense” that precedes the Big Bang/or Follows the Big Bounce as it were. In the Hindu world this is called Pranayama — where the Prana (out-exhalation) and the Apana (in-halation) are held in stoppage. There is, of course, a lot more to the philosopoetries of breathing in Hindu/Buddhist tradition/culture. The Christian world missed it. It is the “presencing hold of expectation” of musician and instrument just before the playing begins. That tension — itself an instrumentation. (Alas, one visualized the Tear Drop below in that primal-pause before the fall: as the poise of the violinist’s bow just before it strikes the chord.)[And the “ci!”? Think–“cradled inspiration.”]

2) AH-HA is our primal inspiration and the second instrument to play. The universal primal SPIRIT intake of AIR — as aspiration-inspiration-respiration. This is the up-lifting INSPIRE formation of mind-body-spirit as an action of all senses engaged as one wholistic gesture of inhalation. This is our Big Bang of Enlightenment. It’s the Ch’an Buddhism-Zen world of sharpening one’s “inner blade”: the Japanese school of Rinzai-Zen of “instant illumination.” It’s that “I myself have found it-been-found-by-it!” — inspirational experience of covenantal epiphany. It erupts out of the Presentation. This happening I’ve termed (in AUGURIES) the APASBAMBAON (a physical&spiritual-body&mind breathing as one naturally). Such comes alive from that cradling hold. Behold! The Inspire of AH-HA!

3) CHI — The Chinese word/concept for the fundamental power of being’s power to be. CHI energizes existence to move. Here is the strong diaphragmatic inward thrust coming from one’s own being’s power of inspiration. This is that power source grasped by those first nanoseconds of creation that explodes creation into spacetimeforcesmatter. The diaphragm is strongly compressed to gather this energy to grasp the AH-HA inspiration and take it to composition. Like the white horse above, CHI is positioned here as the centering force that brings all things into play.

4) A-UM is the now-empowered growing composition of the inspiration. The Hindu primal sound of existence and its vibrant-harmonization in two sounds AHHHHHHH-UUUUUMMMMMMMM….This is powerful diaphragmatic expanding inhalation from the energy CHI. This composition can be taken as far as breath and voice want to extend the sound.

5) YAAAHHHHHH– This then is the full diaphragmatic exhalation — as full expression as the completion of the A the inspiration/composition. This is the playing. This is the music, the words, and the fullness of the voice. The full sound-tone quality of the instrument with powerful pushing-in of the diaphragm to get it out. This is, after all, the full resonance breath-play.

And, so we have the full concert of The QUINTETION. The Presentation-stop-hold Cradle (as poignant pause in music or rhetoric…) is given its holding-place next, before the inspiration AIR of AH-HA — as it begins again to keep playing over and over.
Not only does this breathing-musical instruments-composition with its 5 ( QUINTETION ) stages work — it symbolizes the creation of existence, human consciousness, and our disciplined sense of self. Furthermore, this trinity of creations comes from that manifest stop-gap-void-silence-actionless Presentation out of which the AIR-AH-HA evolves. This is the same Presencing that boggles the minds of physicists-cosmologists–as that “whatever” that preceded (pre -seeded) the Big Bang of Creation. Even if there is a cyclical-crunch&bounce-replay that reverses inflation to re-start the whole shebang — there’s going to be that transition pause of gathered potential into a Presentation-Presencing hold-up CRADLE-CAESURA (virgin birth???Nah! Pregnant pause it is. That suspense-expectation moment before the performance.) From this the spin of existence coalesces into spacetimematter. Already the concept of TELEPORTATION–wherein the quantum world’s matter & energy move from point-place to place-point without moving through physical space. Entanglement without the tangible-tangle. Since my late 20’s, I’ve had the workable notion of this presencing as the reason something comes from nothing and nothing entails something. The presence of a minus entails a plus: nothing by its presencing is something and something presences nothing. (Alas, a rocking back and forth: as in the “spin-oscillation,” the physicists theorize. The result is always a “presencing,” which becomes an attractive wholeness — absolute-unavoidable-ontic — with a built-in diaphragmatic energion of presencing of a birth bouncing out of the cradle. There is that very alive silence that has its play like an instrument: therefore, one of the five. The manifest-cradle-hold of Breath, before the break into inhalation-exhalation.

Granted there’s a lot of philosopoeticality involved in this concert. To me, this breathing sequence mirrors a basic structure-resonance of reality. Well, the scientists haven’t figured it out yet and are theorizing daily how all of this started and is now accelerating its exhalation (from some diaphragmatic action of Dark Matter/Energy.). As mentioned above, there is a Tai-Chi-like bodily movement scenario that goes with this breathing sequence. And, it’s naturally done, lips closed, internally (no sound or physical movements), while the body is doing something else, like driving a car, just sitting, doing dishes, or typing on a computer. Given the circumstance and the desire, it can be done very quietly or with great vocal/bodily expression.

The simplest body movement are all hand related. I’ll try to describe the action. Sitting, hand on lap. From a hold of breathing move the hands upward to the face with an AH-HA to a finger-touching A — like a Wave –with nose in between. Then bring the hands down sharply to a CHI with each hand to its shoulder. Then the hands cross one another to each shoulder with an AHHH; then back across with an UUMMMM. Then each hand-arm forcefully extended with YAHHH outward from one’s body, Then hands back to waist. My hand-finger positioning in meditation is with the thumbs as CHI between the four fingers of each hand; them making a fist. This is particularly symbolic-real with respect to the “hold-covenant-keystone-arch” aspects of all this into-living-poiesis. — These actions can be done very simply-tightly-quietly (just an internal breath movement) or as a very expansive resonance. All can be incorporated in yoga type meditation-positioning: or as a whole body athletic-dancing Tai-Chi mode of expression. (The actions are five, but when vocalizing the sounds are seven.) As I said, someday a video with a wave-graceful-attractive dancer would be a wonderful performance. Sure to take your breath-away as you perform the QUINTETION OF BREATH-AWAYGO, which holistically is BREATH itself as that quintessential Aether that manifests the force for the living cry, its music — and the ability to hold a tonal-notation….and one’s breath…like a holding-quivering tear (a drip just before the drop – the rocking cradle) — suspended like a held-pendulum (“momAmom”) in the swing twixt the polarities of existence,

This Tear Drop Monument, by Russian artist, Zurab Tsereteli, was given to USA by Russia in 2006 as a memorial to 9/11.(See the website.) This is a marvelous statement — that some considered more a mystery than a solid stroke of inspiration artistry. I strongly disagree. It speaks eloquently to me, as anyone would guess, given this article with its PRESENTATION-PRANAYAMA-PAUSE between YAHH & AH-HA.. It shows the pain and the promise of existence as collisions necessitate new worlds. It is the PROSPEROION between Predation & Procreation. And, ubiquitously, that Oddion formation of the singularity thrust in the middle of symmetries. — Fundamentally, it displays the reality of deathinlife&lifeindeath. That tear breaks through the destruction of life to promise a new beginning. O the inspiration of this mighty Tear Drop is no absolute sorrow. As destruction has broken it out — so it breaks through the destruction. It represents the manifest destiny of life to renew itself, within itself and on the planet. More than just 9/11’s towers, or The Presentation, that Tear Drop represents the human world caught in an unknown clasp of primal powers&cradled inspiration … and so far holding on … .breathtakingly.