What you intend when you approach something in the world determines, to varying extents, the degree of sensory gating that occurs as you perceive that phenomenon. Intent, task demands, cognitive template, and gating defaults all affect what you sensorally perceive when a part of the exterior world and you meet. More colloquially, all of us see what we expect to see.
We have lost, as James Hillman once put it, the response of the heart to what is presented to the senses.
How much of life have I wasted by believing the thing I was taught, that thinking is what makes us better, that the brain is superior to heart.
Art—real art—connects artists, and their art, and those who experience their art, to the metaphysical background of the world, to the imaginal world that lies deep within the physical. That is, in part, its ecological function. And that is why the continuing assaults on the imaginal (and its explorers) are so pervasive, why the schooling of artists—of writers, musicians, painters, sculptors—has become so mechanical, so oriented toward surfaces, toward form. For if we should recapture the response of the heart to what is presented to the senses, go below the surface of sensory inputs to what is held inside them, touch again the “metaphysical background” that expresses them, we would begin to experience, once more, the world as it really is: alive, aware, interactive, communicative, filled with soul, and very, very intelligent—and we, only one tiny part of that vast scenario. And that would endanger the foundations upon which Western culture, our technology—and all reductionist science—is based; for as James Hillman so eloquently put it, “It was only when science convinced us that nature was dead that it could begin its autopsy in earnest.” A living, aware, and soul-filled world does not respond well to autopsy.
The majority of reductive scientists, when they experience this fundamental aspect of reality, experience one overriding emotion: fear. Self-organization leads to an inescapable conclusion: there is more going on than mechanical reductionism perceives or can explain.
The emotional response to each tiny incoming sensory bit can tell the conscious mind if you pay attention to how you feel in the same way that musicians pay attention to sound a considerable amount about the meaning inside every particular sensory input that you experience.
It is possible, just as it is with the auditory training of musicians, to begin using the feeling sense actively. This will increase neuronal development in the hippocampal and the cardiovascular (heart) system and with practice, over time, increase sensitivity to tiny modulations in that sensory flow. Sensitivity to the tiniest shifts in feeling will develop, just as they do in musicians with sound complexes. And, with experience, the ability to determine the meanings inside those feelings will become a reliable skill.
Once sensory gating channels are expanded, the organism can take in more meanings, and the increased knowledge opens up significant new avenues of behavior, response, and innovation. That is the reason that mechanisms exist in every organism (and throughout the ecosystems of the Earth) for the expansion of sensory gating channels; the reason why there is no “normal” setting for gating channels in a population; the reason why some people have gating channels so tremendously open. The very functioning of the world depends on it.
If the doors of perception were cleansed everything would appear to man as it is, Infinite.
