Objects that arise in this phase of practice tend to have repetitious elements to them. They also tend to have some depth and complexity. They can also be disturbing, with reasons for this explained later, but the short answer is that the insight practice equivalent of this territory involves some stages that can be frightening. In this territory, I have seen rows of narrow lines, spirals, vortices, doors, tunnels, canyons, fields of skulls, fingers and mushrooms, insects, snakes, and other strange creatures, as well as campfires, complex patterns that resembled fractals or Spirograph patterns crossed with Aztec writing, vast abstract landscapes, and many other strange images. These may spread out across the whole visual field. ...

As you get good at this, when the hyper-real territory shows up, it will be as you asked it to be and often much more, as if a master CGI specialist suddenly custom-crafted the images with a level of detail and perfection far beyond what you may have ever imagined your mind could generate and then fully immersed you in that world. At this point, the elaborate visualizations you find in some of the traditions of the Vajrayana suddenly seem and then become vastly more attainable. Ask and ye shall receive. Seek and ye shall find. Just be careful what you seek, as you may notice that images and other effects in that realm of the hyper-real can also cause proportionally strong reactions in us.

The Luminous Jhānas

These are deeper than the whole-body or pleasure jhānas, and are called “luminous” because the object of meditation used for entering the first jhāna is the illumination phenomenon. This inner light is often called a nimitta,10 and the sensations of the breath are abandoned in favor of this luminous nimitta. Because it is mind-generated, rather than being a true sensory object, it allows all sensory content to be completely excluded from consciousness.

The nimitta may begin as a soft, fuzzy, or misty illumination; as a glowing disk or sphere; or as starlike, flickering pinpoints of light. If the nimitta is dim at first, it will gradually brighten, the pinpoints will expand, or multiple sparkles will coalesce. Colored lights tend to pale toward white, and the nimitta becomes more radiant, bright, and clear. ...

At some point, the breath and the nimitta will both be receiving the same amount of attention, and the two will seem to merge. When this happens, start working with the nimitta. First, intentionally let it recede into the background, appearing small and distant. Then, bring it in close so that it completely fills your visual field. Next, try shifting the bright center of the nimitta up or down, or from side to side. When the nimitta is stable enough that you can control it like this, you’re ready to completely abandon the physical sensations of the breath and attend exclusively to the nimitta. ...

Once the nimitta is stable enough to become the object of exclusive attention, you’re ready to enter the first luminous jhāna. Absorbing into this nimitta is not something you do. It’s a surrendering that draws the mind into the experience of the moment. Open up to it totally, becoming a completely passive observer. The mind is relaxed but alert, and attention and awareness are sharp and clear. Entering this kind of deep jhāna has been compared to submerging yourself in a warm bath. The bliss of physical pliancy floods the body with pleasure, pervading and saturating it everywhere. Meditative joy intensifies as well, and feelings of happiness grow as the bliss of mental pliancy increases. Energy intensifies as the mind fills with joy and happiness. You still feel energy sensations in your body, but they are no longer disturbing or unpleasant.