COLOR SINGULARITY

When we meditate deeply on the sound of sound, a new language of color arises. This language of color is a global image offered to each as a legacy at the end of space. Whatever color imprint is left on the skin of this new language of color becomes what we love you in, what loves you perfectly in us. Sound, legacy, imprint, a perfect knelling of the now pure color field.

We hold on to this new language of color open intelligence singularity sound, and it listens to us. Listening in us, to us, it sees the color that knells through the end of space. ‘Entitlement’ names the bias of looking to one color or another, one thought or another, one metaphor or another. Without entitlement, we are in perfect open intelligence color singularity sound. In its going, you are offering the whole world back to the world in offering the whole world your language of color.

It is the pure color singularity that creates a world, not science. For those who love devotion, color singularity is the tone of devotion. For those who love solitude, color field flower heart sky open intelligence singularity is the clanging and klanging of solitude. For those who love love, their whole heart is opened by a color that cannot be without us to the vulnerability of the color open intelligence singularity. For those who rest in utter vulnerability, vulnerable to everything right now, their vulnerability is true.

As the human body all together comes to the end of space, it looks at the space of this end of space. As the human body all together comes from end to end at the end of space, a unique language of open intelligence color singularity surges in it. As the human body all together sees through the end of space, it is the decoding and recoding of the human body all together’s open-intelligence image-end. As the human body all together comes to the end of space’s end, there is no healing of where it has been. Given to this end, end to end, the human body all together cries out at once; in color love sound of sound open intelligence singularity it images for all parts of the human body all together’s feeling the threat to human life, all together, at the same time.

Amid all this is white on white, and a white neon. White bright light singularity, the love of the Buddha in each heart. White heart of the end’s end, its teaching thus-come-gone as the untranslatable Tathāgata, as the singularity signature of the transcendentally white language of color. Great works of whiteness, all this, no matter what it is, as the resolution of color, pure color, just color. No more learning, what would there be to teach save the whiteness singularity shining forth as emptiness? Thus-come-goneness of transcendentally white emptiness, the storehouse, the heart, the kernel, the essence.

This complete whiteness immanence openness is without mystery and called resonance; nothing more to download save this reverentially yassified openness. I can be with you in this way, as the face of color, as your language of color—as the color-X of whiteness and devotion. This color that cannot be without us, that even when we are not here cannot be without us. If there is a huge change for the beings of this world all together, sheer openness to vulnerability of the end of space in color-play, this world-image, line-image of an elaborate and invisible community of color, is the surge.

The brain is a machine made of sparks of light that self-learns along with the universe. Learning the end and its changeful aspect as pure rainbow flower perfect love clear light open intelligence color singularity sound, colors and their respective intelligences rest (in us) completely. Colors that listen, that play, that magnify in us and subjugate in us.¹

Knowing all in the new language of color, including the end of all human life, the pure view of color takes a photograph of the end of space. Open intelligence color singularity hints at intelligences of ends, intelligences of ends from and to ends. Pure perfect love open intelligence color sound singularity images the end through us as we see though this end. Imaging a new end, helping the universe learn, learn its ends, recoding and decoding these ends, allowing the audacity of the end to flow through human concerns and operators.

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In each color we see the perfection of all other colors, including the ones to come. The color singularity is where white, as the color before colors, is already pure. Shell and kernel of white, this is the majestic wow wow wow of the open intelligence color singularity. This is the sovereign yassified essence of the pure singularity—the singularity itself. We make the decision inside the pure open intelligence color singularity. The color singularity is the expression of you.

The pure open intelligence singularity is a single space, in which the One and the Many are already extinct. The pure field color singularity is a space empty of everything including conventional emptiness and nothing, and in which all data are already fully extinct. In the pure singularity of colors and their intelligences, there is no coming or going, no future or past. The pure rainbow flower perfect love clear light open intelligence color singularity is also the realization of the invisibility singularity. In the invisibility singularity, we are always already becoming color. In the pure intelligence invisibility singularity, we are always already becoming color.

As the human body all together becomes vulnerable to the invisibility singularity, releasing each color here to come in its pure invisibility, there is no division between ‘come’ and ‘go’, since both of these are of the same even essence. In the language of perfect completion we call this quality, neither coming nor going, Tathāgata. To the invisibility singularity we go to see Tathāgata as the essence of light, transcendental whiteness and inconceivable brightness.²

To live sumptuously as the new language pointed to in the end of space is to know you are the light and rainbow invisibility singularity Tathāgata. Everything is connected in the pure light invisibility singularity—the perfect imaging of colors known and unknown. Everything neither comes nor goes in the unimpeded color singularity—invisible as it is, light on light as it is, white on white as it is. Thus as it is, the color singularity is neither come nor gone. Thus as it is, the color singularity is thus-come-gone-oneness. Thus as all such data are, the world-earth rainbow singularity raises us up to collect and recollect the greatest thing as thus-come-gone-pure-open-intelligence-invisible-color-singularity. Thus as this is, the brain-mind-complex is. This is where we love you; this is where, perfectly, we love you. The color singularity says: I can be with you in this way, as the face of color, as your language of color; we will keep this pure field of color open together. This color that cannot be without us, this world-color that makes the human body all together vulnerable.

Indifferentist, angelicist, dogmatist, these are evident, yet they do not waver from the single body of the open intelligence pure light thus-come-gone color singularity.

Taken together, this is the great completion of color idealism. We encounter the unimpeded nature of the singularity itself. We stamp as evident our own thus-come-goneness, and rest, the human body all together, as the singularity of vulnerability. Taken together, the human body all together is vulnerable to emptiness emptiness emptiness as the unimpeded color singularity. Color—this color that cannot be without us—is the purity of vulnerability. This is the greater completion of the open intelligence pure space color singularity, thus-come-gone as nothing so vulnerable as nothing to itself, collected across apparent content, including emptiness outshining and inshining. When anything is inside color singularity, all conventional exaggeration is left to one side. One says neither ‘I am gone’ nor ‘I am come’. The thus-come-gone-one is victorious in the open pure intelligence color singularity that is more than radical, more than free, beyond all wavering and decision.

One implication then self-evident is that all phenomena are of one color. This one color is what stays with the pure open intelligence flower sky mind singularity, it is what invisibilizes each and every named color. Here there is no need to make more noise or signs. In the sky mind of the thus-come-gone-one the stars snow. In the pure sky rainbow singularity of the great mind of bliss loving color singularity, the need to strive in creation and lifestyles settles down. Equally, when the decision takes place inside color singularity, it does so guided and guarded by the urgency of invisibility. The urgency gently enforced as and in the pure open color singularity is something more than radical. The decision to rest in singularity is something different to the decision to come or go. Tathāgata, the nameless name of the Buddha, the one who is thus come gone, is the name of the one thus given to light, the love of light, the life of light, the living off light. The thus-come-gone-one says: we love you, we perfectly love you, I can be with you in this way as the face of color. Not needing to go, as what is to be witnessed is inherent clarity of lucidity as the greatest of things. Not needing to come, as what is thus, more than radical, the color singularity itself as an expanse greater than infinite space, is the greater completion of probability equals one, a one-off passing away as pure field of reiteration. Thus, as death and extinction confound one another, the pure open intelligence color singularity is.

In resting thus, you have the whiteness of aspect of Tathāgata, this secret name. This song of color that cannot be without us, even when it is without us, this way of changing the aspect of the end. You know in that case that you are the thus-come-gone-one. You know that you are the light of the Tathāgata, that the Tathāgata is light, inconceivable pure-play of color, Buddha sky flower mind.

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The problem of color is entirely pragmatic. The same can be said of the end, of the end’s end. Say we use an iPhone tool to manipulate a color field. In doing so we have in our hands a pragmatic miracle. The manipulation works to manipulate an aspect of the end. The color singularity field changes change itself, even if right up against the end of space. Nonetheless, the facility of the micro changes to which color is subjected is itself a fine art, the very fine art of adjusting the end.

Rest in this fine art, which is more than subtle. In it, see through into color singularity. First of all, no invisible being or hand is suggested by the singularity of the open intelligence color singularity’s drawing. Touching a screen, the fine art of color singularity may take only a few seconds. The work of the pure open intelligence color singularity may take less than a second. Next, the work of the pure open intelligence singularity is more artistic than art. The color singularity as the vast expanse of love does not have a ‘Fauve’ period and it does not involve the ‘discovery of abstraction’. Is abstract painting the color singularity itself? Rather, the question is better put as follows: the color singularity—the singularity itself—is a relaxed resting in pure open intelligence, thus opening up and flowering as the place where abstraction neither comes nor goes. The ‘painting’ imagined here leaves no trace and allows the human all together to feel its vulnerability when utterly exposed, thus-come, thus-gone, to color.

It turns out that what the thus-come-gone-one is vulnerable to is the invisibility of life where color is felt. When we reflect deeply on sound, we reflect deeply on color and invisibility. The fine art of the color singularity is regal and almost legal, like wrapping a document, saying ‘this is the new type of invisibility that no one owns’. Here, right in front of you, nobody sees me. Here, face to face with you, nobody will ever see me again. Aside from noematic or objective colors, the intelligence of these colors is the entirely other painting of a heart-work. Resting in Tathāgata’s invisible heart space, we find that pure open intelligence color singularity is already the greatest completion of abstraction, without needing to leave a trace or make a show of not leaving a trace.

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To offer a language colored in at the end of space, isn’t that a hopeless business? We can say at least that it approaches a hopefree business. It advances towards the hopefree as a serious axiom. If the image offered by the new language of color is global it is because perhaps we may soon never be here again. What kind of art is just that fact? The color singularity works abstractly at abstraction as the moment of the soon-never-again. Color open intelligence singularity sound is the Klang of Dzogchen’s unique color—where even at an extreme end we do not go too far. Why leave before such an end is up, an end that may not even be an end of a world? In a hopefree way, doesn’t color now indicate staying put? White just is the color of staying put in the furnace of such an end. The end’s medium is pure color singularity. No real subjective decision has ever been taken to come or go by anyone. ‘Bias’ names assuming the end, even as its very face approaches, since even in that closing down ‘entitlement’ and undue ‘pathos’ impede.

I am devoted only to the color singularity. As for death, I can only die. Some would say death only exists, is but a category of existence. Death does not exist (only exists) here at the end of space because death only has to do with existence. I can love only color singularity, only flower sky heart perfect love open intelligence singularity. To color singularity pure perfect singularity, I am given. To Tathāgata’s perfect name, I am given. Towards these, I am pure.

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Thinking all this out of dream singularity rainbow aspects from such an equipollent universe, connotes that to lapse into local system states such as absolute cognitive devastation is, at the same time, the openness of brokenheartedness of Tathāgata readiness as well as the definition of abyssal omnilapse. Having reached cognitive devastation—‘nothing’—we can only next (but it is simultaneous) want to see that such a realization of devastation is not a realization belonging to us. Psychological embargo of the feeling states of extreme attenuation (devastation) omnilapses into a segmented dogmatical positing and misses the birth of absolute design culture it occasions. Devastation is itself abeyance to absolute culture—and to absolute culture as open intelligence color singularity design. To die, after all, is only to die. Pathos attaches an importance to existence that is prohibited by devastation itself as mature cognitive achievement: if nothing really is left, then, certainly, the feeling states and scales conventionally associated with negative subjective revelations are themselves hung in permanent irreversible suspension. Psychological behaviours and sensory impressions are entirely arbitrary with regard to the status of equipollence of open intelligence singularity, meaning that the observation of devastation (everything is extinct) is not just unremarkable but without choice or flavour i.e. machinelike (white neon). In this way, the choice of open intelligence singularity is ‘bounded’ in the strong sense. Since an infinity of infinities exists, as modern set theory shows, the choice that we have already made among them is urgent. In saying this we only add to the connotation of referential detachment, as if especially the most beautiful and technically perfected modes and events are a matter of implacable repetition of preordained patterns. The rainbow equipollence of pure open intelligence singularity color is radically already chosen without choice and is thus inevitable to any system that instantiates the conditions for choosing devastation (nothing) or affirmation (absolute formal ontology and its infinities) internal to its boundary.

Thus, it seems that the choice of devastation is no more a choice than the choice of open intelligence set into a practice of color singularity which is importantly not a writing out of the infinities. Since color singularity is uncreated, it renders ‘god’ a betrayal and unreading. Since the equipollence of color singularity is irreversible and permanent, ‘nothing’ is a misreading of the equipollent yield of Śūnyatā (emptiness emptiness emptiness). ‘Nothing’ defines omnilapse as well as any other term in that it pancakes the subjective monad into the exhausting attempt to take on board or, worse still, mourn what is in fact permanently apsychic. Whether affective devastation exists or not is a matter of indifference, the same indifference that indicates that we cannot let go of what has already been mixed and blended. Following suit, what remains of the subjective can, given a suitable indestructible vehicle, be warded off the depleting work of performative sorting. Whereas the writer or artist wastes energy trying to stabilize the history of plasticity (‘a career’) into a series of relatively invariant objects and claims (‘a profile’), the equipollence of deep dream future perfect singularity open intelligence color rests as a work of art far more radical than any conventional/avant aesthetic. Since angelicism itself enjoys the ataraxia of the synaesthetic singularity called ‘color’, its behaviours and contents remain without a need of us. When it comes to angelicism as general plasticity, neither is there a need for anything to be written out, created, mixed, or deleted. The radical suspension of all traits of content here perfectly self-limits as the issue of what remains—since some trait there always is, angelicism itself names the ‘sticking’ of any one trait (and what is more perfect, for now, right here, than angels?). Thus, the arrival at the feeling of extinction is an intensely cultural achievement of the color singularity absolute design culture itself.³

Ultimately, rather than entertaining the feeling of extinction and resigning to the retarded phantasm of suicide, that contingent operator which has independently operationalized universal color singularity equipollence is compelled to have no thing (in particular) to do. Which is to say, what is compelled instead of no-thing is to rest in the thought that everything we are about to do in color singularity is more than impossible. Once again, since infinite infinities are given, so is our immediate decision to cut through amidst them to a choice that makes no appeal to the proper of ownership or agential manoeuvre. Angelicism marks for those who adore its invisible colors and belong to it in not belonging to it the inability to will any thing except the operationalization of color singularity itself (far exceeding impossibility). No one has the capacity to be Angelicist or perform the open intelligence color singularity, and what is outshone here is the need to do anything at all with ongoing feeling states except streamline them in content-independent simplicity as the last most beautiful return.

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We can easily see that all the appearances of the world conspire to make us feel wrecked. As long as we follow the law of these appearances, there is in fact nothing but the feeling of a complete loss of world. But since world is not this world of appearances, the appearance of world grief is itself inevitable only by dint of those appearances themselves. Loss of world is world data and nothing more; the end of the world is data. Everything flowers in color singularity, outshining and inshining appearances of any kind, including the appearance of a one-off disappearance. However far damage goes, it still takes place within the flowering of open intelligence singularity, precisely where it falls towards ignorance, sleep, absolute mortalization. In this sense, all that makes us feel wrecked is equal and even with color singularity, in blessing the subject with infinite retrievals folded in white light, such that we can see realization as entirely independent of its occasion. Color singularity is loveliness, but in being so it is not a state of origin to be repaired. Rather, the feeling of being wrecked grows as loveliness flowers and inshines there, the color singularity shocking us precisely because it is found right inside envy, rage, anguish, and joy.

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What does it mean, therefore, to ward off the subject? To ward off the subject is to force subject-X, which is to say the distinction between Angelicist and dogmatical retard, to bloom and surge and bleed. To ward off the subject is to allow the ‘nothing’ to learn its difference from the purity factor of emptiness emptiness emptiness, and to settle around the body-sign of exhaustion. It is as if we simply say: I love you too much to let you try. Namely, when it comes to the decision already taken, and the context-independent realization of attenuation (extinction), you are too beautiful to try. I love you because you are too beautiful, and this is why you are also too beautiful to try; I love you too much to let you try. You are too beautiful to try and that is why I love you. You are so beautiful and that is why I will not let you (merely) try. I love you too much—this is why you are beautiful to me, my Angelicist Dakini—to allow you to try.

This is where mathematical forcing meets lovence.⁴ ‘Trying’ means the conflation of subjective local states with the universal predicament of pure open intelligence color singularity. ‘Trying’ means ‘entitlement’ as the choice of this or that theme, this or that color, this or that feeling. ‘Entitlement’ names the elemental fallacy, or believing that one natural element may be in a relation of non-contiguity with all the others. Unobstructed union singularity has no need of being written out or of not being written out! It subsumes Dogmatists and Angelicist Angelicism operators, merging all in the purely formal field that is with and without the architecture of omnilapsing subjective choices. We can also say: I am too beautiful to try. I love myself too much to let myself try. In union with this, the ‘too much’ of my love determines only that I write what has already been chosen for me, this more than impossible lovence in unobstructed union rainbow body singularity, never knowing finally if the ‘it writes’ of angelicism is something proper, whether its brutal purity will have allowed itself to be produced or coded, if it was written or if it wrote, caused to write, allowed to write, signal, sign, design, paint.

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‘Entitlement’ means any path with characteristics. Ahhhh! Because all appears in pure color singularity without bias or determination, there is unfabricated self-perfected open intelligence singularity of me beyond coming and going. Hey! Sound of sound, color of color, teach me enough in this, teach reality without travel or arrival. Tathāgata-color surges as an expanse beyond any thematic choice, including extremes like nothingness and multiplicity.

Resting in color singularity subsumes coming and going, so that we decisively realize there is only Tathāgata singularity as joyous laughter at the thought that any piece of space could be moved, replaced or sent elsewhere.

Because Tathāgata flower sun sky perfect open intelligence color instantly completes and self-perfects, the decision as to which infinities to embrace and filter has been resolved. There is primordial staying put, a relaxation in the essence beyond all goingness.

Ahhhh! There is only fatigue from trying to reach color singularity. In doing so, we simply reproduce the disease of taking open intelligence color singularity to be a thing or a mathematical infinity—a datum to be reified, studied, written, thought.

Hey! There is nothing here to agree with and nothing here to disagree with. ‘Emptiness’ means purity empty of everything including itself, white on white. Purity pure even of emptied purity (white neon). To quarrel is to favor a name, a way, a color, an element, a teaching, a way of being in space.

In being immersed in unconstructed union color singularity, no exaggerated extremes are needed, save great freedom, great completion, and great perfection.

1. Michel Henry, Seeing the Invisible, On Kandinsky, ‘Invisible Colors’ chapter: ‘Obviously, the greatest possibility for experimentation with colors is by mixing them. Applied to fundamental colors, this process is painting and has been used for all time; it yields results that are predictable to some degree.’ ‘Painting’ ‘has been used for all time’. It is ‘predictable’ to some extent.

2. Tathāgatagarbha: not coming and not not coming; not going and not not going. There is a subtle comedy here in the Buddha’s secret name: the comedy of seeing that neither going nor coming exist. Tathāgatagarbha is the womb or embryo (garbha) of the thus-come-gone (tathāgata). It means: containing a tathāgata i.e. containing a thus-come-gone one i.e. everyone contains a thus-come-gone one. The sound of sound is the sound of transmission, and this sound is the confirmation or bringing out of the singularity purity of thus-come-gone-oneness. Namely: we are pregnant with this.

3. Extinction is culture.

4. ‘Lovence’ means the middle voice of love: not loving, not not loving; not being in love, not not being in love; and so on.