According to the etymological notes in Webster's dictionary, the suffix ledge is derived from an Icelandic suffix used in forming abstract nouns.
As knowledge is the state of knowing, noledge is the state of nothingness. Noledge is transpersonal consciousness aware of the dualities around oneself, without attachment to illusory polarities. Nirvana, not as an eventual goal, but as an alternative state of consciousness regardless of temporal parameters.
The pole star could be considered symbolic on noledge, if one thinks of sun and moon as representative of duality. While yin and yang fluctuate, noledge does not waver in either time or space.
My first memory of noledge is of staring in rapture at Jackson Pollock's Autumn Rhythms in the Metropolitan Museum of Art at age 10, for what my mother told me was about 20 minutes. I felt complety connected with a cosmos that only appeared chaotic, but throbbed with an inner harmony. That day I had been seduced by the erotic power of the Greco-Roman sculptures, awed by the grandeur of Renaisance and Baroque painting, and mystified by the dazzling beauty of the colors in Monet and Van Gogh, but all those had been about something. The Pollock was transpersonal nothingness. For the next six years the making of viewing of art were consistently transcendent experiences, each one deepening my sense of noledge.
I recall a significant shift in accessing transcendent experience in October of 1965. I was a senior in high school, and for some reason I went with my father and mother to the Methodist church in our little village of Lake Como, Pennsylvania. My father rarely went to church, and this was probably only one of a dozen or so times we went as a family. I have virtually no memories of going to church before this other than a period in the late 1950s when we went to Sunday school and church for a year or two in New Jersey. The Sunday morning in 1965 is marked by objective memory only in the place I was sitting and a memory of the minister, David Westlake, reading from the Sermon on the Mount. The subjective experience was being immersed in light and an impression of Jesus saying "follow me." That sounds so simple yet it was one of the most profound and beautiful expeiences of my life. From that moment on the quest to approach and love the Divine has been my first priority, with all other considerations falling into their appropriate place. My conceptualizations about Divinity have been expanding continually but they are still the prime factor.
It would be a long time before I came to understand that my spiritual guide had given me my first assignment of CAM (Conceptual-Action-Manifestation) Art.