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. 

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

 

Reminiscences of Oneiros – III

https://clevelandart.org/art/1991.173
Jean Lecomte du Nouÿ, A Eunuch’s Dream, 1874. Courtesy of the Cleveland Museum of Art (clevelandart.org)

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_by_HGoltzius_CCornelius_1588
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.

 

-SS//25.07.2020

 

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.

-SS/18/07/2020

 

 

 

 

 

 

Enantiodromia

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.

 

-itsa2amgrunge//07.07.2020

 

 

 

 

 

 

 

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“.

-itsa2amgrunge

 

 

 

 

 

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.

16/05/2020

-SS

 

 

 

Reminiscences of Oneiros – II

dream
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,

conforter!

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!

 

260px-Johann_Heinrich_Füssli_053
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.

-ss//21-22.04.2020

 

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.

K33.1Himeros
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.

gato-frias-calle-mayor
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.

my-art-tindya-4
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.

 

-ss//10.04.2020