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Hinton conceives of the soul as higher-dimensional with relation to the body, but so concerned with the management and direction of its lower-dimensional vehicle as to have lost, for the time being, its orientation, thinking and moving only in those ways of which the body is capable.
They found that in a great number of cases these cross-sections, when thus isolated, revealed little of the symmetry and beauty of their higher-dimensional archetypes. It is clear that a beautiful form of our world, traversing a plane, would show nothing of its beauty to the planeman, who lacked the power of perceiving it entire; for the sense of beauty is largely a matter of co-ordination.
May we not must we not infer from this that the body is an organ of many stops and more than one keyboard, and that in sleep it gives forth this richer music. The theory of a higher-dimensional existence during sleep accounts in part for the great longing for sleep. "What is it that is much desired by man, but which they know not while possessing?" again asks Leonardo.
But strange as are these matters and mysterious as are their method, no other hypothesis so well explains them as that they are higher-dimensional experiences of the self. We have the universal testimony of all mystics that the attainment of mystical consciousness is by inward contemplation turning the mind back upon itself.
If there are such higher-dimensional thought-forms, our normal consciousness, limited to a world of three dimensions, can apprehend only their three-dimensional aspects, and these not simultaneously, but successively that is, in time.
Were reason equal to the strain put upon it under these circumstances, in what light might the phantasmagoria of human life appear? Might it not be perceived as a representation, merely, of a supernal world, higher-dimensional in relation to our own?
Briefly, the view taken is that the "Form of Good" perceived by the mind is the source of everything that is perceived by the senses. This is equivalent to saying that the objects of our three-space world are projections of higher-dimensional realities that there is a supernal world related to this world as a body is related to the shadow which it casts.
It is created but not creative; it is imagined but not imaginative. Organic architecture is both creative and imaginative. It is non-Euclidian in the sense that it is higher-dimensional that is, it suggests extension in directions and into regions where the spirit finds itself at home, but of which the senses give no report to the brain.
This is why the higher-dimensional aspect of life, divined by the intuition, escapes rational analysis. Swedenborg's description of "the ascent and descent of forms" and the "forces and powers" which flow therefrom, suggests, by reason of the increasing amplitude and variety of form and motion, a progression from space to space.
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