Mind-Maps (I)

I created the following Mind-Maps to illustrate more of my thinking style in terms of condensing as well as synthesising my chain of reasoning for the concepts I either create or the existing ones I contemplate upon (& play around with)->

I. The Map for Survival

The key is to achieve homeostatic psychosomaticism- i.e., the stability between the body and the brain, and the important tool here is the power of the mind to manipulate the game of survival. If you can convince your mind that you have the power to make it out alive- you’ve won.

[Thoughts I had in the ICU bed- constructing the model for durability induced by survival instincts as the tiles on the roof kept transposing via the (magical, astonishing &.. an aporia) state of delirium. The model seemed to have worked, helped me meditate for the first time in a very long time. Near-death experiences are truly transforming- not endorsing that this model would work for everyone of course- but it seemed to have worked for me- and made me realise that it’s truly the mind that possesses all the power in a sentient- and that perhaps the mind has always been the biggest gem of all times- hence, making the manipulation of mind the biggest virtue & weapon in the history of mankind]

II. Deconstructing Philosophy

Philosophy is not a ‘way of life’- that’s perhaps the biggest myth of all.. it’s the way of rationally contemplating about the very essence of contemplation itself, along-with the inquiry into existence, reality and what possibly lies beyond i.e., the abstraction of the universe.

[Philosophy can roughly be divided into a) Axiology i.e., the scrutiny of value in theology, b) Epistemology i.e., the investigation of the essence of knowledge and, c) Metaphysics i.e., inquiry into abstraction of the universe, existence (ontology), etc.]

III. On the Phenomenology of Perception

It is the imaginative capacity of our perceptual consciousness which constructs the subjective sense of external environment perceived.

[Imagination (within the Imaginative Capacity of Perceptual/Visual Consciousness) renders (or puts together) the ‘images’ of our immediate external environment perceived. Hence, the (Real*/Actual) physical/material reality is imperceptible to the perception of a subjective sentient. What we experience, is merely a subjective constructed sense of reality. One could hence argue that our perceptual & imaginative capacities is what accounts for the ‘qualia’— “the hard problem of consciousness” (Chalmers). Philosophically illustrating—the triad between (i.e., theories or perception) Husserl-Sarte-Ponty is the key to understanding this chain of reasoning i.e., Husserlian theory of perception leading to or adopted later by Sartre & Ponty via phenomenological speculative introspection. One could also interpret this via the lens of Embodied Cognition (Varela) i.e., Neurophenemenological scrutiny of the mind-body problem (Descartes)—> Body ~ Mind (~ = influence). Broadly speaking, the ‘constructed sense of reality via perceptual consciousness’ is what contemporary thinkers would define as the ‘dream-like sense of reality’ (Joscha Bach) or as a ‘continuous hallucination/s that mark the subjective sense of reality’ (Anil Seth). Therefore, to loosely conclude, we construct our sense of reality via our imaginative capacities via perception (within consciousness)] —— [Some reflective add on(s) after a twitter dialogue– A) Perceptual Consciousness here would come off as a term under the umbrella of access consciousness (i.e., the functions that can be associated with consciousness)— the very use however would elucidate more about the essence of phenomenal consciousness. B) The key term use of perceptual consciousness * i.e., a mechanism for deciphering the enigma of the hard problem via a theory of perception with this argument in generation. C) Access & Phenomenal Consciousness are Ned Block’s terminologies that has been used within this argument– the term merely is broadly aided or ‘does justice to’—via the in-depth investigation of the perceptual (access) consciousness. Deciphering access consciousness—> Apprehension of the phenomenal consciousness. D) There’s a presumption assumed here that the material/physical reality a) exists and, b) is inaccessible—the ‘proof’ however I suppose would be illuminated via studies/experiments conducted to elaborate more the basal essence of neural interactions & the different brain-states. (I will continue to develop this of course, for now this is all I choose to share here)]

IV. The Construct of Intelligence

Intelligence is an autonomous subject’s capacity to comprehend or synthesise knowledge alongside the capacity for abstraction and furthermore to possess the ability to create unique models.

[Thoughts derived from another twitter dialogue about the C3 model for Intelligence– Intelligence is/comprises of C3- i.e., a somewhat top-down reduction of the complexity which is intelligence. I wouldn’t reduce it even* more than c3. An agent is intelligent by the virtue of being able to create models within its given environment however, the models created require a certain level of comprehensive and connectivistic capacities. I think resolution & causal reconstruction definitely plays a huge role in effectuating the C3 capacities (within one’s intellect) because it puts forth the ingredients upon through which the model is brought into existence… It would be the components/constituents. Like each component is independent however, all the components are required for the agent to be intelligent. Because an agent could have creative capacity only but that would be a waste if it’s not able to grasp the model’s meaning or level of abstraction]

V. The Triad of Psychoanalysis

I would divide Psychoanalysis or let’s say interchangeably also broadly the Psychoanalytical movement into roughly three subsets i.e., as Empirical psychoanalysis, Collective Psychoanalysis & Semantic Psychoanalysis.

[ (A) Empirical Psychoanalysis has its basis in the sciences of brain and body i.e., a biological basis that Freud heavily relied on to carefully construct the genesis of the psychoanalytic movement in 1896. (B) Collective Psychoanalysis has a psychical basis i.e., broadly a metaphysical, anthropological and psychological basis- what I think Jung introduced and conceptualised shortly after the Freudian genesis- specifically with his coinage of the term ‘Collective Unconscious’. (C) Semantic Psychoanalysis has its basis in the inquiry into the use of language or communication- Lacan’s famous quote about the unconscious being structured as a language would do justice to the basis stated here ]


On Autopoiesis & free will

*Autopoietic Noumenon* 

(An Argument in Generation)

Varela & Maturna’s Notion of Autopoiesis w/ the Kantian Noumenon (i.e., the transcesental immersion)as opposed to the Heideggerian Dasein (i.e., the purest essence of being) is the Autopoietic Noumenon i.e., inherently complex self-regulating living cells/systems function upon the discontinuous awareness of the Metaphysical which allows for the Novelty induced artistic communications. 

This will be the core point of the upcoming blog post/essay on & around Autopoietic Noumenon wherein I’ll sketch out its phenomenological structure which is essentially a broader argument for autopoietically induced creativity.

“[Humberto] Maturana and [Francisco] Varela’s revolutionary theory of cognition became the centerpiece of a larger overall explanation of how all organisms gunction and evolve, which they call “Autopoiesis,” from the Greek word “self-making.” “Autopoiesis” refers to the unique ability of living systems to remake themselves by means of their eown internal dynamics. Or put differently, living systems are autopoietic because, through their internal interactions with their component parts and their external interactions with the environment, they continually maintain themselves and generate their own organization. Autopoietic systems are also autonomous and have individuality, meaning that they maintain an identity that is independent of their interactions with an observer.

[. . .]

What does any of this have to do with education? If, as Maturana writes, “learning is not a process of accumulating representations of the environment; it is a continuous process of transformation of behavior through continuous change in the capacity of the nervous system to synthesize it”and if “man[woman/child] changes and lives in a changing frame of reference in a world continuously created and transformed by him[her],” then the fixed body of knowledge we hold up as the goal of education might not even exist.”

—Chris Mercogliano (In Defense of Childhood: Protecting Kids’ Inner Wildness; pp. 30/32)

“Autopoiesis attempts to define the uniqueness of the emergence that produces life in its fundamental cellular form. It’s specific to the cellular level. There’s a circular or network process that engenders a paradox: a self-organizing network of biochemical reactions produces molecules, which do something specific and unique: they create a boundary, a membrane, which constrains a network that has produces the constituents of the membrane. This is a logical bootstrap, a loop: a network produces entities that create a boundary, which constrains the network that produces the boundary. This bootstrap is precisely what is unique about cells. A self-distinguishing entity exists when the bootstrap is completed. This entity has produced its own boundary. It doesn’t require an external agent to notice it, or to say “I’m here”. It is, by itself, a self-distinction. It bootstraps itself out of a soup of chemistry and physics.”

—Francisco Varela, ‘The Emergent Self’

On ‘Free Will

We enter the concept or totalise the concept of free-will when we enter into a social contract (Jacques Rousseau) with the society or our immediate external environment. One could argue that the peak of this free will is realised at its maximum during the sensorimotor stages of childhood development (Jean Piaget)— when the individual is around 0-3yrs old and totally relies on his mother and his/her senses for support and care. During this stage, the individual is incapable of entering a social contract with its environment because it hasn’t developed any sense of shred values and communal ethics- it is after this very stage of development that the individual enters into a social contract wherein he/she fulfils their own moral and ethical duty. One can also argue, that the core of this idea lies within the arguments of facticity (by Jean-Paul Sartre & Simone de Beauvoir)— that ‘facticity’ signifies all of the concrete details against the background of which human freedom exists and is therefore, limited i.e., human freedom or ‘free will’ is essentially contextual- that it only exists in the need for it to contrast well with the social contract. 

Reflections on Aesthetic Phenomenology, Shamanism & A Sketch for Elements of objective psychedelic states

(I was incredibly honoured to interview Dr. Rick Strassman on my podcast- The Naked Dialogue. Here are some reflections that arose in my psyche during our conversation.)

I. Aesthetic Appreciation & Eye-Consciousness

Human Eyes are psychic in nature as such that they continuously are driven towards satisfying those aesthetic needs- which they procure after scanning their immediate external environment. The drive nature permeates the eye-consciousness, hence allowing the eyes to focus on the aesthetics of the environment as opposed to the environment itself.

II. Morality & Ethics: The Sophists, Shamans & Mystical Prophets

The Sophists, from the pre-socratic traditions, were deemed *un-virtuous* on the basis of delivering the knowledge of art of persuasion and rhetorics for a fee. So, what is even a true shaman? Who is a true Guru or a teacher? The Shamans traditionally deliver the healing and guidance for the very virtue in healing others- those who seek spiritual assistance. However, contemporary shamanism is a return to the sophist tradition- as the Shaman becomes *un-virtuous* in delivering the mystical experience with the rightful and moral intent. Therefore, a false Guru figure, its very archetype, implies delivering the false message (the *impure-unvirtuous* message) to their students and spiritual-patients.

III. Bardo Resemblances in Higher Psychedelic States

To what degree does higher LSD & Psilocybin States resemble the DMT-Hyperspace Realm? The Tibetan Book of Dead, as per Timothy Leary- the Bardo Thodol, explains the common different states of a psychedelic experience. The very stage of the loss of ego-consciousness- the peak- the rise of the emergence of the white light signifying the three Bardos, seems to translate into the highest self-actualised realisation possible. And if often times within subjective accounts these higher-potent or higher-dose LSD, Psilocybin & Mescaline (along with other phenethylamines) are said to induce this white-light transcendental state, then what gives N, N-Dimethyltryptamine & 5-MeO-DMT its own unique hyperspace dimension? My speculations from an outsider-perspective (non-experiential) rests upon the hypothesis that this hyperspace dimension is rather an alternate visual dimension that exists within the compounds of the same reality the body resides in. One way to explain this maybe by imagining the continual replication of the hallucinated OEVs & CEVs (Open-Eye Visuals & Closed-Eye Visuals)- this could possibly induce a sense of existing within an alternate dimension from a perceptual view-point.

IV. Jacques Lacan’s Borromean Knot & the Psychedelic State

Jacques Lacan’s conceptualisation of the Borromean Knot between the Imaginary, the Symbolic and the Real can be translated into the sketch of the objectives components of the Psychedelic State. The psychonaut existing within the compounds of the Real, witnesses the assimilation of the Imaginary and the Symbolic through the ethnopharmacologic effects of the Psychedelic State- thereby, inducing the hallucinatory states. As these hallucinatory states, alongside several other effects like distortion of time, from a pharmacological viewpoint can be thus concluded as the objective components of a Psychedelic trip- as they are shared, and hence, collective in essence.

V. On Jungian Unconscious & its significance within a Psychedelic Experience

Through the lens of Jungian Analytical Psychology, the significance of the Unconscious can be roughly bifurcated, pertaining to its respective affects within a Common Psychedelic Experience. The Jungian Personal Unconscious can be identified in the emotive aspects of the psychedelic experience, through a close examination of the personal archetypes and their distinction from the psychedelic experience itself. Archetypes, in as much as they are collective, can also have a personal significance to them- i.e., the projection of the personal significance onto the archetypal pattern. In contrast, the Jungian Collective Unconscious can be recognised within the objective components of the psychedelic experience i.e., the common and shared ethnopharmacologic effects (distinct from affects)- in forms of cultural, religious and geometric archetypal patterns.

-Sanjana Singh//14.02.2021

A Sketch for Visual Hallucinations

“Thoughts were lived!” (P.)

I. The visual field becomes more concentrated on the objects existing in their realtime position i.e., x existing in its absolute essence– the anxiety unfolds the heightening of the essences of the object existing in real time. The visual field becomes cognizant of the sharpness of the objects existing within the compounds of the immediate external stimuli.

II. The melting dimensions of the immediate external reality brings forth a distorted sense of reality with no realisation of time while ascending towards the ego-loss phenomenon. The geometric cubes around the visual fields unveils an expanded sense of atom-composed reality i.e., to be able to harness reductionism in order to denounce the world being reduced to the tiny materialist particles.

III. With the geometric distortions, comes the revelation of the link-image which is the knot between the emerging imaginary and the symbolic. The dissolution of the dynamic patterns within the geometric visual field encompassed with mild auditorial hallucinations harnesses the united unconscious and the conscious sentience as a projection onto the perceived hallucination.

IV. The potency of the Open-Eye Hallucinatory state along with the Closed-Eye Hallucinatory state is able to reproduce a closely-parallel visual-mental dimension distinct from the sense of the presence within the fundamental dimension. The replication of the OPVs onto CEVs, and vice-versa produces the sense of existing within an alternate visual dimension along with a strong mental psychedelic state.

V. Ego-loss within an out-of-body experience induces the insemination of the conception of the ALL is Mind– the unity- the ultimate individuality. The dimensional perceptual awareness and sentience-sense become unified and the entire sense of sentience reduces to one eso/exoteric body.

VI. Hypnagogic hallucinations can be divided into three rough stages- a) Geometric-pattern Visuals, b) Tetris Effects (Working memory and Symbolism from Long-term memory) and, c) An amalgamation of a) and b).

-Sanjana Singh//28.01.2021

Sartrean cogitations – V


(Jean-Paul Sartre, 1962)

The classical theories that investigate the theory of emotions more or less lets us understand emotions within the boundaries of our conscious experience, at least according to the early theories devised by William James. Hence, devising a model wherein the states of consciousness can be divided as physiological and psychological phenomenon.

(i) It is within the very physiological phenomenon that holds the capacity to produce psychosomatic conscious states, as the consciousness is struck by the physiological projections. It is the very extension of the relatedness and associative elements of consciousness that combines the psychic world and the external reality. Hence, this peripheric theory of William James exerts that the physiological disturbances are either directly or indirectly discernible.

The individual can therefore can sum up their conscious states, in objective terms as their systems of behaviour.

(ii) One must recognise and analyse their emotions in a functional order of comprehending emotion via its significance. Gestalt psychologists, like Janet & Wallen would emphasise that the synthetic arrangement of behaviour would evoke elements of the unconscious or consciousness within the realms of psychoanalysis and hence offer a psychoanalytic theory of emotional finality.

However, emotional manifestations are an intrinsic combination of the psychic and behavioural aspects of the human condition. And therefore, negative emotional manifestations like that of anger or fear usually arise from the human sub-conscious and unconscious as a powerful urge towards attaining the symbolic satisfaction for the release of the intentional and insufferable tension.

(iii) Consciousness generated via the symbolic realisations only offers what it deems to offer as a desire. Within the psychoanalytic interpretations, there’s an established notion that the conscious phenomenon is presented with the symbolic realisation of a particular desire which is furthermore repressed by the censor within the different realms and depths of human consciousness.

Yet the desire is not intrinsically connected with the symbolic realisations as the very presence of the symbolic realisation further delicately fabricates the rise of emotions through the physilogical imperatives of human desires.

(iv) The symbolic realisations requires the renunciation of the Cartesian Cogito and conducting the consciousness as a passive and secondary phenomenon. It is the very acknowledgement that consciousness comprises itself into a meaning whilst being unaware of its very constitution of the meaning derived.

However, if the Cartesian Cogito is possible, then the consciousness itself becomes the very fact, the signification as well as the signified.

(v) The conscious fact of the consciousness becomes symbolical of the desire it expresses i.e., of the expressed complex, in Sartrean notions. Hence, the symbolic character is constitutive of the expressed complex of the symbolical.

Therefore, the innate desire for an inner signification is the precursor for the consciousness that makes itself known (or conscious).

(vi) In Sartrean terms, emotional consciousness is the introductory consciousness of the world. We can construct a meaning of this emotional consciousness initially through its non-reflective structure, and upon its very plane it should be noted that it cannot be aware of its own consciousness, hence, it requires the non-positional reflective mode in order to act as the precursor to the consciousness of the external reality.

Therefore, it is the very perception that connects the emotion to its representative signal. It becomes easy to view the action as the non-reflective consciousness of the constructed instrumental world and the emotive anger as the non-reflective consciousness directed towards the cruel essence of the world as action transforms into anger in psychosomatic-emotive consciousness.

(vii) The nature and structure of my writing is always and forever a product of my conscious state of consciousness as opposed to my unconscious state because an activity comprises a succession of particular objects in this probable world. The probable world is only considered probable due to futuristic realities, yet is also deemed certain as the Sartrean potentialities of the world.

Therefore, like Sartre, my writing is always and forever exigently remnant due to the decisive manner I procure my thoughts in my creative headspace. These thoughts are indeed realised potentialities that generate its exigence objectively through the subjective creative art forms.

(viii) There is an inherent distinction between unreflective activity and unconscious activity as they are non-thetically conscious of the self and the very process of being conscious of the same allows for the transcendence and apprehension onto the external reality posing as the qualia of objects. Therefore, in Sartrean notions, intellect here would be the very noetic correlate of the activity undertaken or conceived by the individual.

However, fear as an emotion has a consciousness whose target is the very negation of the external reality by means of what Sartre would call a magical behaviour. This would further allow the annihilation of the emotive-consciousness as a preliminary step towards the annihilation of the objects present in external reality. This emotional catastrophe allows for the exile of responsibility as the magical exaggeration and sufferings of the world excruciate the consciousness.

Therefore, negative conscious emotions like that of fear and sadness are irreducible to this Sartrean constitution of a magical world wherein the objects that are bodies act as instruments of enchantment. In every possible situation, the subject matter might differ and so would the human behaviour, however, in order to trust this Sartrean magical behaviour, one must manifest physical perturbation.

-Sanjana Singh//19.12.2020

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














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.








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.