August, year of twenty!

August mist with an earthy scent

rejuvenates devil’s ivy, as summer ends.

variegated leaves-

white, in green

–esthetic in spring!


While polaroids hang on the wall,

crescent tapestry floating aside

faces luminous of those once allied-

absent, in presence

–hazed in dust!


And, the books stacked with care

illuminate the mind with bliss so pure

gnostic transcendence evokes-

power, in consciousness

–locked in memor!


As I sit and write these words in ease

year of twenty seems much less peeve

serendipity resumes-

content, in qualm

–expressive in time!


-Sanjana Singh // 13.08.2020


Sartrean Cogitations – III



(i) Knowledge constitutes the framework of the rendition of image produced through signification via imaging knowledge in the consciousness. Sartrean intentionality lies in recognizing the consciousness of the image which manifests from gnosis- hence, consciousness is key characteristic and an extension of knowledge of an imaged object x. Knowledge of imaged object x extends and manifests consciousness which further assists in constituting a mental image of x. Thus, extension of knowledge as consciousness is an essential element in structuring an image in the imaging-consciousness.

(ii) Through desire in reflection, an affective consciousness is invoked wherein the passion is posited in the affective structure of the imaged object. However, the absence within the very presence of the imaged object is realized only on the terms of its affectivity in cognition i.e., an imaged object x will produce its affectivity only because it extends in space and time with desire. Thus, affectivity manifests in the consciousness of an imaged object based on the value of its knowledge in affective form as transcendence.

(iii) Figurative-Motor Awareness in kinaesthetic or mnemonic movements begin with Husserl’s protention-retention synthesis of the impression, and end in the birth of an imaging consciousness. The visual structure manifested through kinaesthetic movement constitutes the analogon of the imaged object in reality. Although, this analogon doesn’t posit the exact knowledge of the imaged object. For example, mathematical calculations through kinaesthetic movements wherein the knowledge, as well as the image consciousness, is derived in time through the movements and cognition itself i.e., it doesn’t render an instataneous image in the imaging consciousness.

(iv) The comprehension, in Sartrean Imaginary, is realized through the assembling of schema in the imaging consciousness which further results in the manifestation of the imaged object. However, comprehension consciousness is only essential when the image is symbolic as it the verys symbolic that is comprehended through its traits. Thus, the barrier between the comprehension consciousness and imaging consciouness is the symbol.

(v) Perception induces the principle of infinity on the very condition of the disintegration of perception, wherein an object perceived within a series of objects is isolated in imaging consiousness as an independent object. Through these very acts of disintegration in perception, and manifestation in the imaginary, these elements of consciousness actuate psychic activity.

-Sanjana Singh // 12.08.2020




Sartrean Cogitations – II



In Sartrean terms, the intention evokes the object of the image-consciousness, a representation of the very absence of the object which is an accumulation of matter of worldly things and of the mental-world i.e., external and psychic elements of matter.


(i) It is the coming together of the imaginary and real-world with intentionality of the object that posits creation for an artist. Through imagination of the aesthetic psychic elements, the artist gives its creation the uniqueness, as the external element of the creation simply posits where the creation was positioned.

(ii) The absence of the physical object is harnessed as a quasi-matter of absence in an artists’ imaging-attitude. However, a quasi-matter is different from a ‘sign-consciousness’ even though they both render the matter as absent. A quasi-matter renders the physical-object as absent but also as present when summoned, hence, eliminating the illusion of immanence through quasi-phenomenon dependent on its non-thetic emanation into the image-consciousness of the artist.

(iii) A critique of arts, in time, would examine the imitation-consciousness of a given portrait at a museum wherein the imitated-image consciousness would induce its affectivity through the physiognomy of the imaged-synthesis i.e., a product of the whole of image-consciousness. This combination of the signified and imaged consciousness through the imitated-consciousness allows the critique to possess the object of the portrait in order to assess and critique it.

(iv) A structure’s study requires a certain knowledge of its vectorial essence within the symbolic movement wherein it evolves as consciousness. The knowledge of this structure evokes a corrupt image-consciousness of this structure’s vectorial aspects through the reflexive eye-movements of the observer.

(v) A look at the I-Ching symbol on wall tapestry, allows the sensory manoeuver to subsume the knowledge of yin-yang’s continual cosmic changes of polarity. Therefore, it is the very symbolic-manoeuvrism that posits knowledge of the tapestry’s structure which further fabricates its image-consciousness.

(vi) Hypnagogic imageries are essentially non-thetic phantasmic images that posit imprecision in details of the Tetris effects exhibiting spontaneous knowledge. The temporal aspect allows the manifestation of the knowledge of the object-focus of the image-consciousness, which ceases to exist in hypnagogic imagery as hypnagogia propounds knowledge of its very ontological phenomenon. 

(vii) The symbolic movement is born from a signified-intuition and ideational form of knowledge. Hence, it is the gap between the image-consciousness and perceptual-consciousness that entitles the object with knowledge as the imitation (signs) symbolically transcend into intuitive-matter of uniformity for the quasi-observation.

(viii) A mental image exhibits no worldliness or spatial relations, rather only its object-matter posits Sartrean transcendence of the representative. A mental-image’s reflective and representative element differ just like solid and gaseous states of camphor in alchemy i.e., no remnants are left behind during the course of transcendence, therefore, exposing the presence of quasi-matter in psychic data-point particularity. 

-Sanjana Singh|28.07.2020


Sartrean Cogitations – I


We may therefore conclude that imagination is not an empirical power added to consciousness, but it is the whole of consciousness as it realizes freedom.

Jean-Paul Sartre

Jean-Paul Sarte’s The Imaginary: A Phenomenological Psychology of the Imagination (1940), outlines the mandatory stage i.e., the inquiry into imagination which carefully discerns nothingness that consciousness fabricates and the consciousness itself i.e., distinguishing being-in-itself from being-for-itself and hence, constituting its ontological phenomenon. When one asks what is imagination? The imagination can be understood as our experience as a whole authorised by consciousness. 


  • On Aesthetics: The aesthetic appreciation excites our sensory experience of the imaginary object. When an object is presented with distinctive properties like its color, shape, size, etc., its aesthetic comfort excites and captivates our senses while further being appreciated in imagination. So, a great deal of our daily-imaginary acts are a result of the recognition of the aesthetic appeals in our immediate environment for sensory excitement or satisfaction.
  • On Perceptual-Imaginative Model: The perpetual experience vastly differs from the imaginative experience, as perception requires the scrutiny of the object while imagination demands the confluence of the imaged object’s sketch through conceptual reflection. Therefore, it is our imagination that carefully integrates the sketch of a perceived experience according to our will to alter the original perceptual experience into an appealing one.
  • On Hallucinations: Hallucinations posits an imaginary stance to the world that designates the discovery of the essence of objects as opposed to aiming to do the same. However, hallucinations differ from perception as it the very imaginary stance that deceives the experiencer regarding the essence of experience itself. Therefore, drug-induced hallucinations alongside dream phenomenon gives the experiencer the will to embrace the imaginary stance.    

(i) Accordig to Sartre, the initial goal of phenomenological psychology of imagination is making explicit the act of reflection which is uniform for all while promising an observer the absolute essence of an image. When an observer observes an object, lets say object x, he perceives and reflects on its properties and therefore gains definite knowledge about its essence. The dilemma present amongst thinkers about the ‘variety’ of principles the act of reflection elucidates seem correctly insignificant, as it is quite logical to conclude that the act of reflection guarantees the essence of object x when perceived and reflected upon i.e., the data derived would be certain and absolute as opposed to probable because probability corresponds to the immediate data perceived from the experience while the certainty corresponds to absolute data. 

(ii) An illusion emanates via the habitual act of thinking in space and on the conditions of the space i.e., Sartrean ‘Illusion of Immanence’. Originating from Hume’s distinction of impressions and ideas, Sartre concludes that ideas are nothing but images itself i.e., just like imaged-object x might have its different characteristics, the same will be true for its ideas. Following the chain of thought, an idea is a product of reflection that comprises attributes that are its determinants, and therefore, while ideas might be mental images of a said object, they can also be a mental conceptualisation of abstraction, in which it is also an abstract conceptual image. 

(iii) The extrinsic-perceived image is when one perceives the photograph of person x through their consciousness obliquely then, person x is what photograph represents, while an intrinsic-perceived image is when the person is comprehended as the matter of the photograph implicitly. Therefore, a synthetic union i.e., synthetic acts of consciousness lies in relating the explicit with the implicit image wherein the nature of the implicit image perceived through consciousness is the very relation of its explicit image. Hence, the image signifies this relation of consciousness to the object, which in this case is the photograph of the person x. 

(iv) An object as imaged is inclusive of the knowledge of its essence. So, the realization of object occurs at the same moment as the object’s intention wherein the intention is the focus of the consciousness which exposes the essence of the object thus revealing and realizing itself simultaneously. Therefore, “the consciousness never precedes the object”. The synthetic act, in the act of consciousness here, is between representative and knowledge elements of the object whereas the unifying aspect is the correlation of the object as absolute and of constituting knowledge at the same time. The realization aspect also plays an essential role in identifying the ‘clear-light’ during an ego-dissolution phase in a hallucinatory-state, as the ‘clear-light’ can only be realized when it is revealed. However, without the intention, the significance of the ‘clear-light’ will remain unrealized and hence, unrevealed. 

(v) An intentional object of the imaging consciousness could be understood as an object x imaged, however an imaged-object x doesn’t necessitate that it exists in the perceived consciousness, and therefore, imaged-object x ceases to exist and thus, is non-existent. Hence, imaged-object x doesn’t occupy our spatial-perception, rather its determinations amalgamation can be posited as ‘intuitive-absent’ i.e., imaged-object x is non-existent to the intuition itself. An object’s nothingness of being is the consequence of quasi-observation, in such that the imaged-object manifests a belief within the observer through intuition but the observer’s immediate consciousness renounces the imaged-object as non-existent by recognising its nothingness. Therefore, the essence of imaged-objects from immediate surroundings constitute of nothingness because of its non-thetic consciousness which implies that imaged-objects are non-existent and only a consequence of a creative-thought process. 

(vi) It is the aspect of nothingness i.e., the non-thetic consciousness of the imaged-object that produces a spontaneous feeble presence of the perpetuated object as a synthesized transversal imaging consciousness as a creative appearance that doesn’t postulate its creative essence. So, when say an artist has an imaging consciousness of mountain scenery that the artist has perceived couple of times, and now wants to make a painting out of the imaging consciousness of the painting as a creative act- the artist would imagine the imaged object in consciousness as an amalgamation of all the times the artist hs perceived the mountain scenery, and now with the pen and brush, the artist would merely draw and paint the exact same object. The painting would be a product of creative imaging consciousness of the perpetuated mountain-scenery and simultaneously would exhibit the nothingness of imaged scenery as the creative alteration would signify. Therfore, creative pursuits of imaged-objects are always an amalgam of creative uniqueness and nothingness.


An image is not an element of consciousness, rather it is consciousness itself as the image when imaged. It posits a restructuring which renders it as a sui-generis consciousness. It is only a product of a mental-temporal synthetic act i.e., the imaged consciousness aligns itself in association with the imaged-object, wherein the association posits the inertia of the consciousness as part of creative-will. Hence, the object is nothing rather than the consciousness one owns of it i.e., the Satrean phenomenon of quasi-observation. This vagueness of the relation between the object and its image propounds that an imaged-object presents an image’s statics and not its synthetic temporal and spatial locus when imagined at any random given point of time.

-Sanjana Singh/26.07.2020














Reminiscences of Oneiros – III
Jean Lecomte du Nouÿ, A Eunuch’s Dream, 1874. Courtesy of the Cleveland Museum of Art (

A. Rosario del Alma

Himeros, beside his two apotheosized intimates,

takes the maiden on an odyssey to Tarifa of Iberia.

unwinding at a diner, her eyes wander the baroque-style quarters in meditation,

an abrupt thought surfaces– clausura neuroses!

the maiden turns to Himeros to address the essential, “Alabahun, banish to the land of sin”.

dismayed, alarmed, and unvexed the intimates commence a loud wrangle,

while the contempt maiden walks out towards the Pillars of Hercules.


Tantalus – H. Goltzius Cornelius (1588)

B. Tantalean Punishments

An oneiric emanates with Tántalos seated upon the Elysian Alps,

his eyes shifting onto the clear-lake,

discerns the majestic hypsypops rubicundus treading Adam’s ale.

tempted, he dives onto the mere,

as Zeus casts his bane, and he vanishes onto the other side of Erda.


this time, amused on an unknown journey in a caravan,

while shorty the ride halts, and its crowd egresses.

inquisitive, he follows the droves of people,

onto the cold sleet- barefoot, inducing the agōn, the Ταντάλειοι τιμωρίαι!

Charles Bridge Old Town Side - Pavel Yachine 1920
Charles Bridge Old Town Side – Pavel Yashine/Yachine (1950-60)

C. Bolzano’s City of Hundred Spires

the creatour finds herself with Poe’s detective,

as he lights a smoke, and hands her the scribbled map.

both leaning onto the rails of the bridge,

overlook the sun glitters and ethereal pink-cerulean skies.

in bliss, they stroll around the city of hundred spires in search of the canaries,

unearthing burghs’ parts unknown.

Plato (left) and Aristotle (right) from The School of Athens by Raffaello Sanzio.
Plato (left) and Aristotle (right)
from The School of Athens
by Raffaello Sanzio.

D. Aphḗnontas tēn Lúkeion Akadēmía

the door opens, and the creatour walks on the halls of Lyceum,

foyer full of studēns engaged in Mythopoeic legends and chatter.

a sudden abject displeasure arises,

as she glances at the groups of desultory academics and regius professors.

lust of avarice reflecting from their eyes, the essence of filius philosophorum receding,

as the fatuous and idle ones brazenly engage in baloney.

disheartened and drained, the self walks out of the academy onto the clear light,

and the oneiric crumbles.




Hypnagogia & the Study of Psychoactive Psychopharmacology – I


I’ve been talking about researching Hypnagogia and the wonderful visual field it presents to the individual experiencing this hallucinatory state, as a part of one of my prospective PhD thesis subjects for a while now. Therefore, I’ve decided to keep on updating here on my blog page some hypotheses as I keep researching the phenomenon and its effects under certain psychoactive compounds both natural and chemical in essence present in medical academic literature. In the coming months, I will be posting a brief literature review covering the hallucinatory phenomenon, and later some more papers on the same till I reach a conclusion or derive a clear Ph.D hypotheses. This would be a series, hence, this particular piece would include the very basic arguments and definitions of the hypnagogic phenomenon that I have been speculating and reading since February of 2020.

Hypnagogia is the transcendental state from consciousness to sleep/dream state, which unveils itself in the closed eyes of humans during their first part of the sleeping stage, in terms of subtle to intense visual, auditory and sometimes even synesthetic hallucinations. Salvador Dali, Mary Shelley, Thomas Edison are some of the artists known in history who have used their hypnagogic hallucinatory stages for creativity in their professional fields.

Although there have been quite a few researches on the essential nature of Hypnagogia/Hynapompic States of Consciousness, there is still no well-researched academic source for hypnagogia under the influence of psychoactive substances. A few of the most informative texts available today on this subject include a thesis paper published in 1983 by Andreas Mavromatis and several other subjective accounts that have either been published as books or short thesis papers. There was also research done in Japan on the “Topographic mapping of EEG spectral power and coherence in delta activity during the transition from wakefulness to sleep”, which offered interesting results like the onset of the hypnagogic state develops rapidly from the vertex shrapnels waves which further proved a suggestion previously made by Broughton, that the ‘appearance of the vertex sharp wave is related to behavioral sleep onset’. The EEG (Electroencephalography) study concluded that the ‘dominant synchronous component of slow-wave activities during the transition from wakefulness to sleep increased as a function of EEG stages in the anterior-central areas and increased clearly after the appearance of vertex sharp waves’.

Another research done by Sirley Marques Bonham, a physicist at the University of Texas (Centre for Theoretical Physics) in her published work, “Self-Experiments with Consciousness and Hypnagogia: A scientist’s personal exploration of consciousness at the threshold of sleep and beyond” had explored her hallucinatory experiences with a scientific perspective, also expanding on the phenomenon or lucidity of sleep. Moreover, another academic, George Gillespie defined the visual geometrical imagery (during Hypnagogia/Hypnapompic Hallucinations) as Lattice Patterns in his work “Stable intense lights: A distinct class of light imagery seen in lucid dreaming”. I find it absolutely accurate, as I see these patterns most nights during my Hypnagogic experiences. Although sometimes bizarre in their nature, these patterns seemed to be an infinite number of stars (or Star of David symbol) emerging in a manner wherein they ascend in their shape size every time. I’m still exploring this and trying to find a better way to describe the emergence of these lattice patterns. Also, I found Gillespie’s term ‘Pressed-Eye Imagery’ again very accurate, as through the act of pressing my eye I’m always consciously able to induce myself with some kind of hypnagogic imagery. In addition, his term ‘Elementary Imagery’ is also very accurate in defining the stage wherein the individual witnesses an intrinsic combination of geometric and non-visual perception forms.

Dr. Rick Strassman, an American clinical associate professor of psychiatry at the University of New Mexico School of Medicine, clinical psychopharmacology researcher and the author of the famous book DMT: The Spirit Molecule & DMT and the Soul of Prophecy had also suggested to me in our email dialogue that when non-drug states resemble the ones brought on by administering DMT (N,N-Dimethyltryptamine), it would make an absolute sense that elevated brain DMT levels may be a common underlying mechanism. Moreover, he suggested administering his DMT rating scale to those who experience hypnagogia to more objectively measure the degree of resemblance. If the resemblances were strong, he says, that would support the argument that endogenous DMT may play a role. After reading the present literature on Hypnagogia/Hypnapompic states of consciousness, I’m quite certain that these states are intrinsically connected to memory and the unconscious realm of the mind and body. And when experienced under the influence of Psychoactive substances like LSD (Lysergic acid diethylamide), psilocybin, peyote, etc., it produces the same geometrical patterns (Lattice patterns; Non-perceptual Visual Imagery; Tetris Effects; Animal Imagery; Mathematical like equations hallucinations).

The reason I want to academically explore the psychopharmacology behind these altered states of consciousness and naturally emerging hallucinatory states is that most humans in the present world consume a various number of psychoactive substances (caffeine; marijuana; alcohol; prescription medications, being the most consumed) either once a day, throughout the day or at the end of the day before their sleeping time or indulge in some kind of meditational exercises. And when hypnagogia is encountered during these altered states of consciousness or even in rigorous meditative states, the hallucinations become more intense in nature- the visual geometrical hallucinatory field is quite clearly visible, the Tetris effect is also heightened and animal imagery is also quite identifiable. Tetris effects are the visual imageries of the repetitive activity that an individual commonly does on a day-to-day basis. Therefore, under the hypnagogic trance state these visual imageries gets replayed i.e., for example, if I was moving around and clearing my desk about two or three times a day, under hypnagogic state I would find myself viewing the same activity.

I came across this peculiar phenomenon, under the influence of cannabis at first, and for five or six months now, I’ve been really trying to derive meaning out of the hypnagogia induced geometrical visuals, Tetris effects (which opens more questions about the relation of the unconscious with episodic or semantic memories), and even synesthetic state of hallucinations before the REM sleep stage as they appear also in sober states. In February, I had collected some subjective accounts of people who have experienced the same phenomenon and I had noticed some similarities in the symbolism that emerges during stages i.e., geometric patterns, spiders (or other animal imageries), and memories or Tetris effects. I’ve also noticed that the geometrical component of these hallucinatory stages is also quite similar to closed-eye visuals that one experiences in a psychedelic state.

The question which baffles me the most is whether these symbols are the Objective symbols of the world i.e., whether they are part of the omnipresent unconscious psyche or the Jungian collective unconscious. It has already been well established by many philosophers including Descartes and Alan Badiou, even as early as Pythagoreans or Aristotle, that geometry and arithmetics is all there is, in terms of ‘Objectivity’ in the world. And with the emergence and recent popularisation of psychoactive substances, this ‘Objectivity’ I.e., geometry has been vividly perceived and acknowledged. I relate these ‘objective’ symbols to the ‘Otherly’ as these often perceived as mystical elements. I think enough emphasis should now be given to the Otherly and our consciousness. Especially with the contemporary psychedelic renaissance, now most of the subjective psychedelic experiences are recorded for the examination into the hallucinogenic characteristics. One of my research plans involves cross-examination of different subjects, under the influence of different compounds with hallucinogenic properties to see whether the hypnagogic visuals are distorted or intensified under their influence, and moreover, what ‘symbols’ remain the constant throughout the experiment or experience i.e., ofcourse if my research gets a FDA approval.

The development of recent technologies like MRI etc. has made it easier to examine the intrinsic connection between the unconscious mind and our perception or behavior. For example, Leonard Mlodinow, a physicist, had also emphasized and described these recent developments or tools in his book “Subliminal: How Your Unconscious Mind Rules Your Behavior” that let us understand our automatic unconscious behavior by examining the brain under modern advanced technology, MRI/CT Scan.

With the help of recent technologies, I believe that it would indeed be possible to deeply examine the intrinsic connections between the symbols, memory and behavior and maybe also, consciousness. As Sirley Bonham Marques had stated in her book, “Hypnagogia is the shortest path for communication from our subconscious”. The subconscious mind usually encodes everyday memory into symbols that emerge during the hypnagogia or even the dream state, as witnessed through the Tetris effect.



Bonham Marques, S., 2017. Self-Experiments With Consciousness And Hypnagogia: A Scientist’S Personal Exploration Of Consciousness At The Threshold Of Sleep And Beyond.

Gillespie, G., 2009. Stable intense lights: A distinct class of light imagery seen in lucid dreaming. Dream Time: A publication of the Association for the Study of Dreams, [online] 26(1), pp.14-15. Available at: <; [Accessed 18 July 2020].

Jung, C., 1968. Aion. 2nd ed. Bollingen Series / Princeton, pp.3-7.

Mavromatis, A., 1983. Hypnagogia: The Nature And Function Of The Hypnagogic State. Ph.D. School of Social Sciences Theses, Brunel University.

Mlodinow, L., 2012. Subliminal: How Your Unconscious Mind Rules Your Behavior. Pantheon Books.

Strassman, R., 2001. The Spirit Molecule. Rochester, VT: Park Street Press.

Strassman, R., 2014. DMT And The Soul Of Prophecy. Rochester: Inner Traditions International, Limited.

Tanaka H, Hayashi M, Hori T. Topographic mapping of EEG spectral power and coherence in delta activity during the transition from wakefulness to sleep. Psychiatry Clin Neurosci. 1999;53(2):155-157. doi:10.1046/j.1440-1819.1999.00509.x


-Sanjana Singh | 18/07/2020


Vision 3.0

Down the Rabbit Hole - @realisrealart
Down the Rabbit Hole – @realisrealart (Instagram)

(A) Ego death in the research or act of conscious-exploration cannot be defined as the death of self or individuality, as the ego is merely ancillary to self. Therefore, ego death can be described as per Jungian notions the death of the personal extra-conscious ego while the omnipresent extra-conscious ego remains in partial correspondence with the unknown inside i.e., the unconscious of the endosomatic self. Individuality adheres to the ego as the predominant characteristic, while the ego is the reaction of the conflict between the somatic self and the environment. Hence, the interim loss of personal extra-conscious ego in a conscious exploration is the reduction of the conglomerate ego within the self.

(B) The ego-consciousness perceives the enigmatic essence of the kaleidoscopic apparatus of trance during the alchemical conscious-explorations. The mandalas attempt to seize the self from the Hegelian notion of being-in-itself towards being-for-itself, as Jung places the center of Maya i.e., being and not-being not in ego but as a part of the self. Therefore, in the kaleidoscopic entrance, one loses the instinctive psyche while the vast endosomatic ego struggles as the experience bridges its duality like Isthmus of Suez

(C) The Hermetic principle of rhythm accordant with its gnostic principle of polarity, in the probing of conscious-exploration, allows the vibrant kaleidoscopic mandalas to pose as the neutralizing agent for the chaotic egoistic states of the psyche. Hence, stretching the limits within the subjective inner world while subtly exposing the self to the omnipresent aspects within the psyche. Thus, when asked “Nan yar?“, the consciousness explorer exclaims, “I am the transformation”.

(D) Aliquem alium internum, a climacteric period within the transformation of self as a road towards individuation lets the pneumatikos travel through the temptations or obstacles of sarkikos just like the alchemists desired spiritual metamorphosis in obscurities of matter. Hence, opus contra naturam, a perpetual journey till the eschatology requires a M’tu-ya-kitabu to locate the cave within the Khidr, while stepping on the faustian hybris to ascend to filius sapientiae. 

(E) Summun Bonum as part of the tantalizing experience of conscious-exploration makes the euphoric state cut through the bridge of the subjective and objective individualistic perspective of the human experience of the world. Thus, allowing a cosmic unity wherein the union between Atman-Brahman lets the consciousness and beyond explorer to step on the pathways of spiritual planes all the way from Ajna to Saharsana.









solar plexus, the E note in union

blow the cornucopia, awakening empusa

thunder, wind, and rains in apotheosis

gaze on the cthonic planet.


a young creatour absorbed in eleusinian mysteries

lays on the Tunisian carpet, the “jar of manna”

the mogra candle lit, leaf climbers swaying

while an incense smell escapes the ecclesia spiritualis.


ecstatic with the cherchez la femme,

and mundane acts of life,

she excites the pure, puer aeternus.

the filius sapientiae paints the worn out walls, rejuvenating Anahata.










Pneuma’ Coalescence

Unreservedly wearied, the soul stood with a weighty stream of tears

as hours passed by, each minute perceived akin to an hour

she walks into the chamber of Eunomia, yearning release.


Eunomia & Astraea in loud dispute, pass the prejudiced plague

the soul in defeat crumbles, as the psyche in delirium behests her return to Sindhu

the colored penalty inducing psychoses in her wit takes her on an unforeseen journey from nigredo to albedo.


the long haul sickens her with the paranoia of the corona

anticipating chaos and demise within reach,

she melts onto her mattress with stern sedation of the enzymatic benzene.


a week passes by with the phobia of the corona,

as she finds herself in the kingdom of Hypomanie and deprimere

-crowned head, she creates and destructs for weeks to come.


the abstinence of Bhaṅgā brings back the long-forgotten reveries

hysterically aroused and startled,

she examines her reverie and hypnagogique narcolepsies for cues.


the syzygy emanating unabridged persona

makes her latent placated shadow self bulge out in play of Sekhmet

extrapolating her neuroses onto all and none.


months pass by, she floats in depths of Kirkegaadian neuroses

banishing the Mammon, mourning Aphrodite as Messalina,

holding onto the blue-eyed Athene and, iron-willed Ares.


one late-night, during dense contemplation

she reflects and meditates on the truth cast by the inner voice

“oh, creatour- the root of the delirium lies underneath you!”


enlightened, the psyche matures with jousissance

as she registers the mess as the dearth of amour-propre,

altruism towards self.


the inner light enunciates the elegy,

“is the self primed to welcome and devour the shadow or will it neglect and dupe itself to conclusively manifest hysteric lunacy?”

the tiny second of judgment here bases the conscious choice as the very precursor of the mental neuroses or psychoses.


the key to mental clarity relied on the transformation of conduct

yet the elegy could only be made implicit through time

as the self is the only true destroyer of its native resolute walls of delusions and illusions.


contented, she tests her elegy with the lysergic alchemy

the richness of kaleidoscopic, ample mental ecstatic trance

spoke to her in sensitivity, “creatour- do not resist, walk with life as life strolls with time!”


“Breathe, reflect, as sentience is what entails the nature of the universe,

create not follow, unwind and relax,

the inferno of the universe will not scar your soul if you don’t invalidate the essential i.e., self“.







Messalina & Psyche’s Agōnía

strolling around the eyes fell upon Messalina,

eyes hypnotized and inquisitive falls prey to the agōnía of Valeria.

ecstatic the psyche strolled down on an odyssey towards sensualism, devotion, unrequited variety, and misery,

the empress assuaged and cherished the psyche until one midnight she gave the psyche the voluptuous gaze- and now the psyche would never be the same.

the psyche fairly cherished her, until one day she kissed her ally,

enraptured at dusk, only at dawn to find her with a bloke,

the psyche squelching the sorrow accords frēondscipe.

days go by, the bond heightens into an exquisite paradise,

Valeria caresses the psyche with warmth, visits práh to delight her intimate.


the psyche suffers eternal anxiety and misery in the course of quadrāgintā,

Melissa barely anywhere to be found, until one day the velum Valeria hoists

trecherie, trecherie- deprimere,

the psyche eschapers as an epiphany emanates- never ever lie with the licentious empress of the papacy.