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.






The ‘Psi-Phenomenon’ of Psychic Energy- From Hans Berger to Carl Gustav Jung

Hans Berger
Hans Berger (1873 – 1941) – German Psychiatrist; Inventor of the Electroencephalogram (EEG)


Psychic Energy, according to Carl Gustav Jung, can be expressed as a form which performs psychological work either by actual or potential forces. The distinction between psychological and physical activities can be understood through these examples- psychological activities include perception, memory, sensory inputs and outputs, thinking, etc., while physical activities include the process of breathing, digestion, perspiration, etc. The invention of EEG i.e., Electroencephalogram in the broad field of clinical neurology was done by a German psychiatrist named Hans Berger in 1921. Before the late 1980s when his main clinical researches began, he pursued mathematics and astronomy and was also a disguised spiritualist and sort of a psychophysical fanatic throughout most of his life. Here I will attempt to associate and draw parallels between the lives and inventions of Hans Bergers electroencephalogram with Carl Gustav Jungs theoretical developments in the field of psychology along with their respective encounters with the ‘psi-phenomena’ or ‘psychic energy’. 

In 1892, Hans Berger encountered a strange phenomenon during his training exercise in the military. He was thrown off of the horse he was riding onto a cannon drawn horse’s path wherein he automatically inspected the end of his life but thankfully for him, the horses had halted just in time. Miles away from the incident his sister had sensed a feeling that his brother, Hans might be in some kind of danger and hence requested their father to make an instant telegram to check with Berger. After this incident, Berger was left in contemplation as he pondered whether this coincidence was perhaps mental telepathy and somehow based on the principles of natural science. Therefore, right after the completion of his military service, he returned home to Jena in order to study medicine with the sole goal of finding out the physiological basis of this psychic energyhe had encountered.

In general terms, mental telepathy can be understood as a phenomenon that extends in spatial and temporal planes wherein there is a limitation set in the consciousness for the psychicevent to be proven as the annulled space-time barrier. In Jungian notions, synchronicity is a notion that occurs in archetypal situations wherein the corresponding points are related to danger, risks, fate, etc., and are harnessed through the forms of precognition, or telepathy. An innate archetype can be defined as a pattern, wherein emotions arise in terms of sensations of fear, danger, or risk which become universally recognizable human patterns that invoke the same notions or sensations in everyone. Just like Hans Berger whose study inspired by the telepathic psychic energyled him to discover the brain mirrorfrom the brains recording of electrical currents and eventually to the human EEG, Carl Gustav Jung who had also grown up questioning the validity of telepathy later found himself developing his own unique theoretical systems that further explained to him his, and often his patients’ ‘para-psychologicaloccurrences.

In the psi-phenomenon or para-psychological phenomenon, which is often used as the terminology to describe instances like telepathic occurrences within and by the psyche i.e., the mind’s sudden awareness of impressions via the common channels of the senses like for example, the ability to perceive, to hear, to touch and of intuition. Hence, the psychicevent is not a mere result of the course of perception instead- the event perceived i.e., the perception is channeled through sensations while the focus or the object of the perception itself is the psychicevent. However, it is an event that is incomprehensible by essence as within the limitations of our physical or physiological processes, the occurrences of such events cannot be anticipated. In the case of Hans Berger, after the incidents occurrence in 1892, there seemed to be absolutely no going back from the sensations that arose in Berger that led to his instant assumption of mental telepathy which further led him to the gate of his starting point in psychophysics career. In the psychotherapeutic treatment of neuroses and psychoses, the electrical impulses were observed by Berger as occasions of heightened emotional tensions that dont necessitate from the conscious part of the mind.

Another way to explain this phenomenon, perhaps could be expanding and laying emphasis on the ‘acausal parallelism’ which in Jungian notion can be seen as an idea emerging after his use of I Ching (The Book of Changes)- a Chinese esoteric exploration into divination that is represented by the symbol of yin and yang and led Gustav Jung to further question the connection between the internal ‘psychic event’ and the external ‘outer event’. ‘Acausal Parallelism’ emphasises that A and B are independent variables yet connected in time and space i.e., they happen simultaneously without being a cause of one another, as illustrated in the I Ching of the Eastern esoteric philosophy. This is where Jung’s idea of synchronicity is formulated with his suggestion that coincidences worked in this ‘acausal’ manner. However, I would argue that a great deal of synchronicity is also rooted in ‘psychophysics’, as Jung was looking for connections between his ideas and physics- i.e., a meeting point which became clear and came to light after one of the dinner table discussions delivered from Albert Einstein at Jung’s about his theory of relativity. It was after this discussion, that Jung was convinced that both relativity of time as well as space ould be possible, which he later expanded on his work of The Interpretation of Nature and Psyche with the help of physicist Wolfgang Pauli. This collaboration was possible at the time due to the accepting nature of Wolfgang Pauli and Modern Quantum Mechanics that was emerging during 1950s. The community was ready to accept acasual effects in physical phenomena with an increasing emphasis on number of possibilities in the universe as opposed to concentration on just ‘facts’. Therefore, physicists had proposed this notion acausal events where possible based on the idea that there could also be no exchange of energy between the two physical bodies. Also, a contrasting idea was also noted by Carl Jung during his exploration of Astrology that at times an individual’s unique personal expectations were mirrored in the results- a notion that again the contemporary modern quantum physics community is starting to take as an actual possibility i.e., that an observer can have effects on an experiment merely just by the act of observing- a subjective bias. I Ching could be argued as the esoteric precursor to the idea of synchronicity whilst the nature of accepting quantum mechanics after Einstein or ‘psychophysics’ could be the reason why Jung was certain there could exist several ‘connections’ across theories when it came to ‘synchronicity’.

To conclude, the psychic energyinevitably results in the conscious realization of a psychicand peculiar event within the structure of the physical premises of the human body. While the idea was empirically approached by Hans Berger, the same idea was theoretically approached by psychoanalysts like Carl Gustav Jung, while others like Alfred Adler from Depth Psychology completely rejected the existence as well as the notion of telepathy itself based upon an assertion that the psi-phenomena is nothing except an atonement of neurotic apparatus. However, it is noted that even philosophers and polymaths, like Gottfried Wilhelm Leibniz, Arthur Schopenhauer, and Arnold Geulincx, explored the “anomalous phenomenon” of telepathy, spiritual ecstasy, and visions in depth. 


C.G. Jung ~Carl Jung, Letters Vol. II, Pages108-109.

Millett, D., 2001. Hans Berger: From Psychic Energy to the EEG. Perspectives in Biology and Medicine, 44(4), pp.522-542.

Lacanian Nucleus of Repression & The Élaboration of the ‘Prägung’

Art by Fucile Shreber Baja

Jacques Lacan, in his seminal work of The Nucleus of Repression, discusses the moment in the élaboration which is always present in an enigmatic way in analysis i.e., wherein the positive effect of interpretation in the transference episode is truly possible. Once this imaginary element becomes “non-integrated”, then the “suppressed, repressed” image arises followed by the appearance of anxiety which the subject witnesses. Lacan emphasizes the decisive or mutative value of this “fertile moment” because a right interpretation is required at that precise moment during the analysis. The subject’s desires at that particular moment fluctuate between being present and inconceivable and hence, it is the only occasion where the subject can make sense of the interpretation effectively.

Lacan illustrates the Wolfman case, wherein the subject has a character or narcissistic neurosis which makes the subject develop resistance to treatment. This theoretical dilemma was initially raised by Freud in Infantile Neurosis which is the title of the Wolfman in German. After-all, Lacan was known for interpreting Freud’s textual work in order to convey its inherent meanings and implications. The Wolfman case seems crucial in understanding the theory of trauma which Lacan uses as an example to unfold the theory of repression. He identifies the specter of repression in a traumatic event i.e., the event where the subject as a child accidentally catches the parents in a copulatory position. This issue of locating this “fertile moment” is also famously known as the topographical problem in Freudian terms. Lacan cleverly uses Freud’s estimated date of copulation, to reveal the dual symbolism of the subject’s birthday which also falls on Christmas Day. He locates the prägung i.e., the striking of repression in the subject’s anticipation of the Christmas day and the Birthday to further assert that “this anxiety-dream is the first manifestation of the traumatic significance of what a moment ago I called the imaginary break-in”. According to Freud, this prägung is located in the non-repressed unconscious. The prägung is the originating traumatic event that occurs within a non-repressed unconscious which is strictly limited to the domain of the imaginary. It reemerges during the course of the patient’s progress into a symbolic world. This first symbolic integration i.e., the prägung lets the “trauma” come right after the retroactive effect and induces a repressing action which is the detachment of the real world and the integration into the symbolic world.

Lacan states that repression only occurs to the extent that the events of the early years of the subject are in history sufficiently turbulent which in Freud’s words “it is in as much the subjective drama is integrated into a myth which has an extended, almost universal value, that the subject brings himself into being.” And that is why Infantile Neurosis is exactly the same as Psychoanalysis i.e., it plays the same role as psychoanalysis, namely, it accomplishes the reintegration of the past, and it brings into the play of symbols i.e., the prägung itself, which here only is attained through an effect that is retroactive. As a result of the development of the primary symbolic integration, the imaginary plane takes on its status as trauma. Hence, there lies no difference between this moment and the symbolic repression, except the only one which is that the subject has no one around to give him his cue, and that is how the “repression begins, having constituted its original nucleus”.

In the second part of the seminal article, Jacques Lacan asserts that the return of the repressed and repressed is one and the same thing. Repression occurs in an individualistic manner when the thought is separated from the feeling. It is the signifier that is repressed, as “nothing is ever, nothing can ever be repressed, except signifying elements. It is in Freud, the word signifier is all that is missing” (Lacan, Book VI). When the intellectual function is separated from the affective process, the signifier arises. The signifier is the primary organizing element of the unconscious. He states that every successful symbolic integration involves a sort of normal forgetting i.e., a forgetting without the return of the repressed. He connects Heideggerian notions to the “successful repression” which he claims is to be taken as a therapist’s term for “the most profound forgetting”. Lacan refers to Balint’s claim on the subject’s ego and further asserts that the ego achieves more feats when it is made to compete with itself i.e., through exercise or analysis, the analyst and the subject hold the power to “structure the ego” which will through practice become more strengthened over time and would be able to tolerate “greater excitations” because this exercise or analysis highly facilitates the subject to self-master his own ego. According to Lacan, this ego is an imaginary function of the “speaking subject” i.e., the subject succeeds the objective analysis as a result of verbal communication within the analysis- which will make the subject present itself distinctly. An example could be that of a scientist who is only a mirror image or support to the objectal scientific world, “the ego acquires the status of a mirage, as the residue, it is only one element in the objectal relations of the subject”.

In the third part of the Seminal Article, Lacan examines the procedure of therapy and the source of therapeutic action in the analysis. He identifies the essential function (which is the process of symbolic integration of the subject’s past history) as a function that relates to the super-ego wherein the analyst occupies a significant position. Lacan proceeds to trace the origins of the super-ego in the Freudian theory and illustrates that the super-ego emerged as a form of censorship, whose aim is to deceive through lying. The subject’s symbolic world is split by this agency into two parts, a) the accessible part i.e., which is recognized and as b) the inaccessible part i.e., which is forbidden. Lacan puts the super-ego within a tension which can be reduced down to what Freud explained as “purely instinctual principles”. In contrast, Lacan also entertains the idea where the unconscious of the subject is just “a schism of the symbolic system” i.e., a restriction or alienation which is influenced by the symbolic system and where the super-ego is an analogous schism as it occurs “for the subject”. He illustrates this with an example of his patient whose aversion of the Koranic law becomes lodged in his symptoms. The subject discovers the most significant relationship to the universe of symbolism when it is organized. Hence, it is when the traumatic elements are compressed in an image that has previously never been integrated- when the synthesis of the subject’s history appears, “his history is unified by the law, by his symbolic universe”, which is subjective and therefore, distinct for everyone. Lacan recognizes this trait of reducing the law as “inadmissible, unintegrable character” with this “blind, repetitive agency” as the definition of the term super-ego. Lacan also highlights Freud’s work of the Oedipus complex and claims that it is the most uniform point of intersection i.e., it is the minimum requirement in the existential sense of the term (i.e., of the individual’s personal education and tradition).

In conclusion, the moment when all the significant objects of the subject’s cycle have appeared and all his imaginary history is completed i.e., when the anxiety-provoking desires of the subject have been identified and reintegrated or when the desires which were initially present in O (innocence period) shifts to Ó (after integration into the imaginary period) and again to O (through analysis) represents a completed web of symbols – is the fundamental outcome most required by the analysis itself. Lacan ends this seminal article by suggesting that there is enigma around the adjournment of the analysis itself i.e., it is unknown when the analysis is supposed to be adjourned because it depends on “the analyst’s education in humanity”. A man usually tends to resolve conflicts in accordance with conduct or group morale which makes the man incapable of “broaching these grand themes”.


Lacan, J. (1988). The Seminar of Jacques Lacan, Book I, Freud’s Papers on Techniques 1953-1954. W.W. Norton & Company, pp.187-199.

Lacan, J. (1988). The Seminar of Jacques Lacan, Book VI, Desire and its Interpretation. W.W. Norton & Company.


Reminiscences of Oneiros – II

Arthurian Passages from The History of The Kings of Britain – Geoffrey of Monmouth (1848)

A. Oneroi Fæder ~ Villa Valmiki, Ballua

psyche awakens in an accustom abode

(fæder), “Awaken, awaken!

village of Valmiki, Ballua calls

Ahmiyatmou spiti demands aid”

befuddled, the self rouses in realis- astounded- perceive the face of the fæder beaming.


B. Oneroi Innana & Dumuzid ~ Mangal Missus

Dumuzi caresses Innana in venerus,

thereupon, corralled Enkimdu gratifying goddess Innana.

reiectus, reiectus– dimensions cambiare- another fabrica arises within the oneroi!

a missus diverts Dumuzi’s attention to a Philoi- a moment of profound glare.

long-lost facies surface,

as another missus emerges- the warrior of Mars- “سانجانه ~ in nocte consilium”.


C. Oneroi Mōdor ~ Altera domi

cherished conforten- my gaea,


a tranquil shift to the walls of old domi,

the matured routine of soaring up the stairs resurfaces- son of Ya’aqobh smouldering the herb of Taina, smiling- enter the seminar.

to find an Aryan guru, illuminating Sindhu.

as a hamsa reaches from behind evoking poignant gewær!


The Nightmare (Henry Fuseli, 1781)

D. Yfel Hypnagogique Narcolepsies

the body shudders, uneasy aesthet.

the old hag utters his grim- casting the loud agnostic bane.

agonizing- psychasthenia provoking, the body veiled- aches.

utter perturbation- as the petrified narcolepsy alters onto an oneroi. 

resurgence– (expunged- succinct minutiae, transiently lost) missus from the warrior of Mars!

in ictu oculi – the bewildered psukhē awakens.



Mousike Objet d’Art – I : The Weeknd, After Hours (2020)


Abel Makkonen Tesfaye (The Weeknd), released After Hours on the 20th of March, 2020- and ever since it has become the mousike objet d’art I’m most infatuated with, and it’s not the first time I’ve ever resonated so much with his artistic side, it was since Starboy (2016) the whole album, in its entirety. It is his infusion of R&B along with musing lyrics and mind-altering- almost psychedelic cinematic narrative, that has all my deep admiration for him as an artist. After Hours, the album entails a profound vision of a solipsistic man channeling his sybaritic life tussling through the incessant mania and melancholia.

The repetition of the lyrical musings is only mundane since real art reflects only attempts to intricate the inner self. Hence, the bacchanalian exaltations, lonesome monachopsis, the klexos, is the reflection of his mundane persona onto the art i.e., his music and cinematic narratives. The enigma of his noir-pop exposes the objet petit a of the psyche and self – the kuebiko and liberosis, amalgamated with the paroxysmal blues.

Here goes the journey from eruption to the epilogue of Abel‘s ‘After Hours’

The album starts off with, ‘Alone Again’, “Take off my disguise, I’m living someone else’s life, Suppressing who I was inside, So I throw two-thousand ones in the sky” already establishes the commencement of the aesthetic ride with the cinematic narrative that begins with The Weeknd leaving Jimmy Kimmel’s show as Abel Makkonen Tesfaye with a wounded face and despairing tears in his eyes. The suppression of the self noticeable through the momentary strained smile. If one was to relate Abel with the Joker, he’d be the Starboy version of the same.

‘Too Late’, entails the ectopic remnant heart, “It’s way too late to save our souls.. we’re in hell, it’s disguised as a paradise with flashing lights, I just wanna believe there’s so much more..” and the cinematic narrative entails the same- flashes of the blonde muse.

‘Hardest in Love’ depicts the duality of The Weeknd and Abel and what it brings about in his intimate bonds, “Cause I’ve been the hardest to love, you’re tryna let me go, yeah, and I can see it, I can see it”. The video narration just parallels the hedonistic ventures that come right after the end of intense infatuation.

‘Scared to Live’ is an alluring musical piece, “I know things will never be the same, time we lost will never be replaced, I’m the reason you forgot to love- So don’t be scared to live again..” performed live at SNL as The Weeknd, with just an attitude that outrightly puts the hopeful word out in eyes of the world – “No, don’t be scared to live again”.

‘Snowchild’ starts with this irresistible beat that seizes the sincere moments of comfort, along with the narration as the epiphanies strike, “Walking in the snow before I ever made my wrist freeze, I was blowing smoke, had me dizzy like Gillespie,… Leaving, leaving into the night”.

‘Escape from LA’ is a classic, an absolute masterpiece in elucidating the real 21st-century hedonistic-lives many are living and some become slaves of- thinking it’s the way towards fame, for the satisfaction of the ego, “LA girls all look the same, I can’t recognize, The same work is done on their face, I don’t criticize, She a cold-hearted bitch with no shame- But her throat too fire”. But it also entails how The Weeknd has achieved the best of the material world, however, (Abel) struggles with the only possession that matters i.e., love, “Got everything I wanted, But I’d be nothing without you”. 

‘Heartless’ is a straight-up depiction of the stages that are set into motion right after the rejection and end of an intimate bond- the hedonism; the coldness. The cinematic portrayal mirrors the lyrics extremely well.

[On a side note, however, I’ll add here that licking the Bufo Alvarius Toad (in the ‘Heartless’ music video)- is not the way to trip on 5-MeO-DMT – harm reduction and correct administration videos are available online- also, I do not condone the use of any psychotropic drugs).

‘Faith’ is the continuation entailing the hedonistic activity of altering consciousness to escape the reality, while feeling, “everything, I feel everything from my body to my soul” and also stating the melancholic side has now led Abel to abandon all faith or ‘religion’ and leave sobriety. 

‘Blinding Lights’ is probably again, another absolute pop-hit which continues Abel‘s journey of hedonism in the sin-city. The song, as well as the cinematic narrative, brings back the 80s vibe and expands on how he doesn’t have the other muse to rely on anymore.

‘In your eyes’ is just Abel‘s resistance to face the closure so he could live in pretense, “I’d rather be so oblivious, I’d rather be with you, When it’s said, when it’s done, yeah, I don’t ever wanna know”. The title and some of the lyrics, also correspond to the famous quote from the classic Al Pacino & Michelle Marie Pfeiffer’s Scarface (1983), “the eyes chico, they never lie”. 

‘Save your tears’my unique treasure, the best track on the album, in my opinion of course. Here, Abel expresses his confused state of mind that overtakes his psyche when he’s exposed to a new intimate bond, “I don’t know why I run away… Take me back ’cause I wanna stay..”. Abel also debunks the never-ending cycle of love and heartbreaks, “Yeah, I broke your heart like someone did to mine, And now you won’t love me for a second time”. 

‘Repeat after me (Interlude)’– Interludes’ in The Weeknd‘s album are always ecstatic in a musical essence- the same was true for the Starboy’s interlude with Lana Del Rey- ‘Stargirl’. Abel here continues his resistance of possible closures, and continues the illusion that “You don’t love him, you don’t love him- You don’t love him if you’re thinking of me” or is he? – that’s the charm of this interlude.

‘After Hours’– the track which the album is named after, narrates the intense melancholic sides that take over the psyche- the overthinking; the reminisces, “My darkest hours- Girl, I felt so alone inside of this crowded room”. The vocal notes that Abel hits while singing- “Oh, baby, where are you now when I need you most?, I’d give it all just to hold you close- Sorry that I broke your heart, your heart” just proves the luminosity of his voice.

‘Until I bleed out’ is the last track (not in the Deluxe version) of the album, and beautifully concludes his desire of finally letting go of his damaged state of consciousness, “I wanna cut you outta my dreams- ‘Til I’m bleeding out”. 

In the Deluxe version of ‘After hours’, the album, there are three more tracks that The Weeknd expressed as the final epilogue to his long artistic expression:

‘Nothing Compares‘ can literally be described in two words from Abel himself- “Asphyxiated, (Asphyxiated)., Intoxicated, (Intoxicated)”.

‘Missed you’ is Abel‘s message to the muse about his acceptance of his initial refusal to come in terms with the closure, “But I was frontin’, lyin’ to myself, When I know the truth, Was I missed you- Yes, it’s true”. 

And at last, the ‘Final Lullaby’– a graceful adieu, “And I can’t make you stay, In this broken place, And I hope you find peace, Close your eyes as I put us to sleep”.

Abel, I love you.

– SS//17.04.2020








Reminiscences of Oneiros – I

I. The Aqua-Marinā eyed Muse

reminiscence- a bosom site, a cherished abode

my aqua marinā eyed muse,

with the sincere comfort and love in her Uranus eyes,

lets me rest my deprimere head on her læppa.

an amicable sense of peace and calmness enriches my core and soul in unison.

oh! like Mariam & Laila,

the unus here- love and understanding.

Himeros and Paris, Athenian Red-Figure Amphora (5th BC)

II. The Disdain of the Himeros

a white bedroom- brightly luminescent, evokes the memor

another familiar face- a fresh feeling surges from behind,

the Himeros. 

the Min-  daunting eyes; runs his lusty hands, down my gut.

i quiver- fleeting to the other fabrica of the oneiric.

an epiphany eventuates within the unconscious realm of my psukhē

the flesh aches for strācian, yet not from the escandle Himeros.

Calle Mayor – Gato Frias (2017)

III. Calle Mayor- Anamnesis of the Sui Generis Dreamscape

Another oneroi, another intimate face- this time, of a long-forgotten shadow.

together, the duo stroll through the Calle Mayor, as old flashbacks of Madrid rejuvenates within the sui generis dreamscape.

at last, the awaited promise is contented- in the transcendental state of consciousness,

till the psyche awakens in Sindhu.

From inside Tindaya Mountain, Fuerteventura – Lebbel Art

IV. Juniper Montaigne, and the Cavus of Protegere

this time, a profound oneroi- which the memor upon consciousness- expunged (succinct minutiae, transiently lost)

the visions captivate the lush-green mountains packed with junipers, orchids, and cedars.

an unusual moment unfurls- rocks rolling down, obscure humaine-figures scaling heights, rest running in anxiety.

an abrupt change occurs in the dream-vision- I find myself in a cave.

hiding, seeking asylum beneath the vast aperire of the cavus,

as slowly the dimensions of the oneroi crumbles to pieces.




Mundanus, Sisyphus’ Happiness


To wake up every day,

only to go back to sleep again.

then wake up again, to bathe, cook.

read, think, write.

listen to music, watch the classics.

go back to reading, thinking.

bathe, cook,

music, musings,

think, sleep.

and the same, every day.

yet, I do imagine this Sisyphus happy?

the hour of consciousness here lies in realizing the enormity of time.


this indifference must continue, however.

it laid within the depths of time in tram rides,

within the steps towards the terminus,

within the melancholia and mania of asking why and how?


nothings’ changed.

the mundane is where lies the Sisyphus, in happiness. 



The Sole Principle towards The Art of True Sentience

The first and only principle, the Principle of Elimination of Assumptions, is the basic principle to the art of true sentience which further allows the true nature of investigations of the things within the compounds of any spatial reality that runs with time. Now, this is a hard one to stick to, because, ‘we’re born in a society’. This principle is hard to establish, because of the years of devotion or conformation into the constructs of society. But when harnessed, it is the first and the only basic step towards the art of true investigation into the nature of everything. Think of it this way, think of existing independent of this present society, think of a soul born independent of the present constructs of society and culture.

Sure, you can identify differences in gender, color; differences between different planta or anima; but would one be able to assume things like sexuality (heterosexuality; homosexuality; bisexuality; asexuality; etc). The answer is not complex, as when it comes to reproduction one can conceive the notion of a true ‘sexuality’; but again, investigating the nature of ‘love’ and ‘sexuality’ as compared to ‘reproduction’; it is the very conceiving of the notion of a true ‘sexuality’ in relation to reproduction that halts the phenomenology of the true nature of love or sexuality. Hence, following the same chain of thought, one can realize the free will that comes with the conflict of these two elements.

Now, think of color. The name of the color or the description exists purely because of the constructs of the present society. Black can be white, white can be orange, orange can be blue- it’s all about how you perceive or identify or label color and it’s constituents. And again, with this chain of thought, black can be dark or bad or light or good; depends on your perception and your free will when it comes to conforming to certain ideas or constructs. Here, think of black or white or orange as nothing other than a distinction, attach no other meaning to it because rationally, it doesn’t exist.

This can be applied to any present societal concepts like nationality, race, religion, etc.

The first and foremost principle i.e., The Principle of Elimination of Assumptions, hence, requires you to see the sentient as sentience i.e., as seeing another human as just another existing being. Regardless of all the proposed notions of this reality or the reality that is the result of a history of a construct.

A pure interaction with another sentience, hence, becomes pure when one is able to eliminate the current perceptions given to us by society.

As soon as a person assumes a thing, be it anything, the truest and purest doors of perception are closed. If one wants to transcend with another sentience in terms of interaction, without the elimination of assumptions, the pure interaction itself would cease to exist, and hence transcendence in terms of emotions would again just be a result of a construct, and therefore, false by nature.

Ideas are evolutionary, life is a process and within this process, change is constant. And for this change to be possible in the freest and the purest manner, one has to get rid of the assumptions of the society – a principle one can acknowledge, but hardly ever tries to truly accept, only because of mere ignorance.

Hence, just like to understand the ‘higher knowledge’ of a certain subject, one needs to fully grasp the basics of that subject, to fully experience sentience within any realm of possible realities, one has to eliminate the primary notions of the deemed society first. 

That’s the only first step towards the free conscious or even unconscious self.



Vision 2.0



It’s the need for the ego to interact with the external reality, is when an individual feels the urge to put on a mask.

Embracing the existential emptiness, the existential void– is the real meditation and acceptance of the nature of absolute reality, whilst the fear of the emptiness itself is the cue for an internally suffering unenlightened psyche and self.

The appearance of the hypnagogia results in the creation of the unconscious spectral phenomenon through symbolism into the mystical nature of the subconscious. The question is how much does our psyche rely on the self to manifest them and how much of the phenomena are independent of the self?

If anything, there’s mystical, not paranormal. Because, the universe, the consciousness can give rise to specters/mystical symbols in reality, but that doesn’t necessitate the characteristical classification of these elements. Sentients should be able to acknowledge and accept every element as a part of the whole (of the universe, of the consciousness), not as A or B, good or bad.

– <<A calendar correction miracle>>