Sunday, January 25, 2015

Ode to the Sweetness of Melody

 


By ordering the frequencies of expression, Melody can intensify our experience of natural sounds and thereby sharpen all our perceptual functions. The sounds we hear, though ordered, elude her control, obfuscating the demarcations that distinguish a woman's song from the cries of the ocean. 

The "keener" sounds arising from the boundaries where tension reigns are genius, borne out of this tension between human voice and natural sounds

The Sea of Sound is the ocean of our collective unconscious, the voices we hear embodied clouds that forcefully soften our calmest skies. In her phrases stir grinding water and gasping wind, but she is not the sea we hear. The masterpieces we sing as unique as the instrument. The way we play, a simile engendered out of the restless movements Melody reverberates. What we hear, a simile, no less. We are the other figure that animates the scene with rolling oceans and medleyed mimicking of the surrounding sounds.

We utter songs, a rhyming of the resemblance the voice hears. The same gesture equally accepting and rejecting the noises it makes. Evoking a sea that denies us, we stress internal rhyming between ourselves. Embodied in tension between we hear faint echoes of what we send out. 

The effluence that flows out, the effluvial sensation that moves us beyond commencement, bows to Harmony. Our instrument's imitative onomatopoeiatic response is as unique as the expression that gives rise to it. 



The song we sing, a ghostliness of the ocean in the repetition of movement. The irregular syntax and elusive semantics put stress on the instrument's sounds, particularly on the melody animating the hollowed out spaces between notes. A trace of Existence, perhaps, acknowledges the sea, but the inspiration behind the song as a source relies on the primacy of human expression. 

The wings keep spreading and yet are not wings. The claws keep scratching on the shale, the shallow shale. The sounding shallow, until by water washed away... the sensuous experiences of voice and sea sometimes interfere with her natural harmony. The interpretation is dramatized by the object of our gaze. The echoes continue this rhythmic effect on the waves that sweep across everything in their path. Songs absorb their listeners, to whom only they reveal their identity. 

Independent of these sounds the ocean never settles. Voices mimic sound back to the rolling seas, embodying the life-giving properties of sound. Melody walks on the calm waters that simultaneously give rise to whirlwinds and maelstroms. The tours of sound that follow pleases all that surround her. The oranges and the greens stand in her doorway on very sunny Sunday Mornings. Raphael's angels of imagination align the fence in transfixed gaze and wonderment. Upon discovery, they surround her and echo in chant her song. 

Reality manifests itself in sound. Like watery words that wash away, their meanings are only glimpsed in repetition, in half or quarter-meanings. The liquid notes that wash over us immerse us in their translucent shores, exchanging notes until both participate in the process of perception. Sight sees light and sound hears itself. The sweetness of Melody speaks without words. Like meanings sat unto each other, and heart effects itself through the effects of imagination. 

Her product, very real, indeed. 




Saturday, January 24, 2015

Ode to Dignity



That which reigns above, that on whom all life is dependent, to this alone belongs the superfluous titles of majesty and independence. Whether it is this to which our laws are beholding is unknown, but should it be so, the lessons we learn great and fearful alike must be of its nature. Whether this uplifts thrones or casts them down or bestows its power on rules or takes it back, leaving them with only their weakness, the nature of their circumstances teaches them duties in a sovereign way that is worthy of considering a greater presence. For when this presence bestows power, those with wisdom recognize its fleeting moment, that all their majesty is borrowed, and that, if they are seated on any such literal or perceived throne, they are nonetheless under the mercy of this presence and its supreme authority, should such a notion exist. It is thus that the nature of existence instructs rulers with actions and examples. Et nunc, Reges, intelligite; erudimini, que judicatis terram.

Sometimes it is such that in a single lifetime wisdom is disclosed to an individual by such awesome extremes of human affairs that vanity perishes. Unbounded happiness as well as miseries instruct. The long, peaceful enjoyment of privilege; all the matchless glory given by birth or circumstances combined in one person, who is then exposed to every outrage of fortune that the good cause by which the individual relates is, later, suddenly reversed. Unheard of changes, rebellions, until one is either completely abolished or completely triumphant. Majesty violated by fate under the name of liberty.

These are the lessons that that which reigns above gives, or gives by nature of its nature. We recognize in the world its pomp and grandeur, its illusions and falsehoods. Not knowing from whence they come or why they come, we comfort ourselves as they uplift us during those long successions of prosperity, which experience tells us will be followed by a sudden plunging into an abyss of difficulty.

But the prudent, dignified individual who is the subject of this penning and the recipient of the inevitable vicissitudes of monarchies; instructs herself while forces instruct others by her example. As above stated, forces teach us both by generosity and by means of ill-fortune. In the former the dignified individual is benevolent; in the latter fully courageous. Even when unhappy, the world feels her power through her infinite acts of kindness; after fortune deserts her, on her own she enriches herself with virtues more than ever. So much so, that it would seem it was for her own good that she lost royal power; and if her subjects, her allies, gained or profited due to her misfortune, she in the end served as the most high, the most excellent, and eternally memorable life upon which so many others were built.

Few are aware of the great qualities of those whose lives are resplendent in service to others, whose stories fill our universe with tragedy and triumph. One might feel obliged to make certain mention of past individuals, but it is enough to honor all dignified individuals throughout history. It would be superfluous to speak at length about any of the glorious births of princes or princesses. Instead we shall contend ourselves in the unique praise to which dignity alone belongs.








Friday, January 23, 2015

Applauding Patrons of the Arts



Tourists, students, and scholars visit capital cities across the globe to make a pilgrimage to the museums who hold each country's national treasures. Private collections, on the other hand, those masterpieces known only to a privileged few (Monets, Matisses and others) are legally owned and secretly-guarded by companies in tax havens: Liechtenstein, the Cayman Islands, the British Virgin Islands and the Cook Islands.


Van Gogh's 1894 painting, Watermill at Gennep, is one of the works Thyssen-Bornemisza purchased with the help of an offshore operative based in the South Pacific haven of the Cook Islands. A number of pieces in Thyssen-Bornemisa's collection were acquired from international auction houses such as Sotheby's and Christie's through a Cook Islands company now called Portcullis TrustNet, who helped with the arrangements under a secretive structure connecting people in multiple countries.



Tax benefits gained from owning art offshore offer "maximum flexibility" when moving a painting from country to country. This freedom of circulation facilitates the transfer of art across national borders, an activity that currently presents its own unique set of financial and legal challenges.

The global art market now tops $55.1 billion. A 2006 Senate Investigation found that billionaire brothers Sam and Charles Wyly and their families spent at least $30 million in untaxed offshore dollars on artwork, jewelry and furnishings over a 13-year period.

As with many art purchases, collectors pay sales taxes in the countries where the pieces are acquired. The advantage to working with offshore accounts is not paying annual wealth taxes in countries with more stringent regulations.

Thyssen-Bornemisa treats her art collection as have other patrons for generations. Well-known is the story of how Hendrickje Stoffels financed Rembrandt's career after the painter went bankrupt. In an artful maneuver, the enterprise she created with Rembrandt's son, the seventeen-year-old Titus, shielded Rembrandt from creditors while allowing him to work as an employee of the H&T art dealership. Thanks to Stoffels' smart art patronage, Rembrandt was able to focus on his painting instead of his finances, producing among other masterpieces this impressive three-quarter length self-portrait.



Take Agnes Dürer the wife of Albrecht. The fifteen-year-old daughter of a well-to-do metal worker brought a healthy dowry of two hundred florins to the Dürer marriage, into which her husband immediately dipped (financing an extended art trip to Italy).

Self-Portrait, 1500(s)
Albrecht Dürer


Every morning at the Nuremberg marketplace or the Frankfurt fair, Agnes marketed his prints, handling the money side of their enterprise. Thanks largely in part to Agnes, Dürer became the first Northern artist to be directly influenced by first-hand contact with the Italian Renaissance. His engravings and oil panels display the influences of Italian art. He depicted historical biblical characters Adam and Eve as a more complex, highlighting Adam's air of bewilderment and uncertainty, and Eve's positive dance toward the forbidden fruit on the tree of knowledge.

Melencolia 1, 1514
Dürer


Throughout history patrons of the arts, those individuals behind the financing of art productions, have had the privilege of endowing generations of citizens with masterpieces that would not come into being were it not for their generous patronage. Tax havens fulfill the world's desire for the continuance of our inherited and yet-to-be-created cultural heritage.



This exchange demonstrates a sort of magic that happens in museums, galleries, private collections, and whispers around the world. The resulting spark connects works of arts to their rightful place in the institutions and collections that house masterpieces of human ingenuity.

While art is still considered a leisure activity, entertainment for aristocrats, merchants, and even the working class, the importance each culture places on the kaleidoscope of objects demonstrates the value and pride we associate with our aesthetic contribution to the world. Devoted to expressing our aesthetic interpretation of the natural world, human beings count art among our most treasured artifacts.

Arie Kopel, The Antiques King, with his wife, Coco, 
in their Mark Hampton-designed apartment on Park Avenue


In addition to savoring life, patrons finance millions of paintings, drawings, cut-outs, color and design studies, and works of laborious leisure. With respect to educating the public, patrons make available everything from folk art to high-end city pieces. In terms of accessibility and distribution, alone, the significance of the patron's role is undeniable.

Tax havens benefitting patrons of the arts sometimes seem decadent. Seen in conjunction with the world's desire to safeguard her most valued treasures, the focus illuminates the more direct connection patron's have to the world's insatiable love of art.

Private Art Collections

Rembrandt van Rijn
"Portrait of Jan Six", 1654 
oil on canvas, 112 x 102 cm.
Six Foundation, Amsterdam
$150-250 million

Caravaggio
"Conversion of Saint Paul", 1600 
oil on cypress wood, 237 x 189 cm.
Odescalchi Balbi Collection, Rome
$120-180 million

Rembrandt van Rijn
"Self-portrait", 1659 
oil on canvas, 52.7 x 42.7 cm.
Duke of Sutherland collection (on loan to the National Gallery of Scotland)
$100-150 million

Leonardo da Vinci (attributed to)
"Salvator Mundi", c-1500-1510 
oil on wood, 65.6 x 45.4 cm.
Private collection, New York
$80-150 million
Its owners are seeking $200 million

Hans Holbein the Younger
"The Madonna With the Family of Mayor Meyer (The Darmstadt Madonna)", c.1525-8
Oil on panel, 146.5 x 102 cm.
Reinhold Würth collection, Germany
$80-140 million
Sold for more than $70 million at a private sale in Germany in 2011

the list continues ... 


Well-known in the field of art is the fabled "El Dorado of the Arts" collection owned by the Wildenstein family, the prowess of Steve Cohen, the remarkable collection of Impressionist and Modern Art works owned by the Niarchos Family, the Duke of Sutherland's collection of old master paintings, Casa de Alba's (now property of Cayetana Fitz-James Stuard, 18th Duchess of Alba) envied works by Fra Angelico, Titian, Velázquez, El Greco, Rubens, Rembrandt, and Goyas, arguably the best collection of contemporary Art in the world owned by Eli Broad, David Geffen's collection coming in second to Broad's, Steve Wynn's spectacular private gallery at the Bellagio Casino, François Pinault's extraordinary collection, and Charles Saatchi's collection of future masterpieces. However, most patrons aspire to remain behind the scenes - letting the art speak for itself, and thus to those who have the privilege of appreciating it. 








Monday, January 19, 2015

Until the End of the World


Inês de Castro was a Spanish Lady-in-Waiting with noble, albeit illegitimate descent, though she was legitimately descended from Infanta Sancha Henriques of Portugal, the daughter of Henry, Count of Portugal.


Inês arrived to the Portuguese court as the Lady in Waiting of Constance of Castile, the new bride of Pedro I, heir to the Portuguese throne. As fate would happen, the moment Pedro and Inês met, they fell madly in love. During the first years of Pedro I’s marriage to Constance, he carried on a secret liaison with Inês. As happens in royal courts, the king, Pedro's father, King Alfonse IV, discovered his son’s liaison and had Inês banished. 

Five years later, Constance died in childbirth. Pedro I rushed to his beloved Inês, and together they had four children. Infuriated by the prospect of illegitimate heirs having claim to the throne, King Alfonse IV ordered the assassination of Inês. 

Devastated, Pedro I returned to court.


Grieved over the loss of his beloved Inês, the now King Pedro I hunted down his father’s guards, Igên’s assassins, traded prisoners for them to be extricated back to Portugal, held a trial, denounced them guilty, and pulled out their hearts before his court, stating “Now you will know what it feels like to have your heart ripped out of your chest.”  

Thereafter he was known as Pedro “the Cruel,” though he is sometimes referred to as Pedro “the Just.”

Pedro’s grief grew. In tribute to Inês, he had her body exhumed, dressed in a crown, jewels, and robles, and placed next to him on the golden throne of Portugal. Pedro I ordered both clergy and courtiers to approach the throne and kiss her hand.


Pedro I, the Castilian king, reigned for a decade from 1357-1367. Pedro had two tombs constructed for him and his beloved Inês. Their tombs lie facing each other so that in the very moment of the Great Awakening they will see each other first. They are buried in the royal monastery of Alcobaça, with the words “Até o fim do mundo…” 


(“Until the end of the world…”)

  

Até o fim do mundo...

An Ode to Igês and Pedro
inspired by heart-breaking to the limits of delirium writings
of Count Giacomo Leopardi, Italy's greatest lyric poet since Pedrarch, Lucretian in his vision.



At times thy image to my mind returns,
Inês. The white heat of my anguish
Burns away, penetrating the air.
Beside me, my beloved Queen,
An earthly mutation, a silent star,
With sudden and startling vividness,
As if awakened from her sweet harmony,
The splendid vision rises in my soul.
How worshipped now, what a delight
To me, what torture, too! Nor do I e’er
Inhale the odor of flowery fields,
Or perfume of gardens mask,
That I recall thee not, freely exiled, so redolent.
Arrayed in robe and crown, thy form
Angelic I behold, as it resolutely reclines
On dainty cushions languidly, and by
An atmosphere curiously surrounded;
Unsuspecting innocents, tempting bosom press,
Then by my side, nevermore unprotected,
Driven deep by divine penetration, lamenting sore;
Not to be disturbed, till the Last Judgment,
When we shall be one another’s first sight
As we rise unto the kingdom of His glory,
Into everlasting grace, eternal dwelling place
Of the faithful, judged in the mansions of the righteous.

A Lady divine, though not in line, but to my thought
Thy beauty shone. A like effect upon your heart
My presence caused, and harmony, that seem our birthright,
A mystery caused, and thus revealed.
The stricken separated, then five annual round had made,
A wife was put to laid, stricken with mortal fondly worship,
Mine own ordeal propelled my ideal, the creature in my mind,
Which is of heaven descent, in looks, in manners, and in speech.
The real and the ideal, the effect in fond caress, passion-driven
Soul. Woman, a dream, adored. Four heirs, marriage vows, are made.
By nature inferior to the king’s lineage stained.
At last his error finding, and the sad exchange,
Enraged, and most unjustly, oft,
The woman struck. Such conception ill comprehended.
The man, deceived, returns. Vainly waits the passing of Afonsoian line.
The crown to the last singular house illegitimately begun.

The real and the ideal, but a dream. In the generosity her beauty
Oft inspired. Produce on him that listens. Dead is Anés, phantom
Ever dear, that comes from time to time, and disappears.
Thou livest still, not only in beauty,
But in thy beauty still surpassing all;
Flame extinguished, rekindled.
Her, alone, I adored; and was so pleased
With her celestial beauty, known to nature full well,
Thy young artful and coquettish ways,
Mere attributes of the sweet pleasures life gave,
A likeness that allured me so, even to thy
Long and heavy slumber to publicly bear.

Now, lie, we separate in Alcobaça, but together, still
Rise, eyes fixated instantly upon unconquered hearts,
With head bowed with suppliant look, say that thou wast the first –
And surely the last – that in my eye, and before me,
Rise thee timid and trembling, together, our only wish,
Submissively observing sacred servitude,
Judgment free to resume, bereft of starless nights,
And winter’s midst, summer’s revenge, the blossoms of spring.
Outstretched in indolence we lie, and gaze upon the day


Until the end of the world.



Thursday, January 8, 2015

Emotion-vs-Thinking

THIS EMOTION -vs- THAT THOUGHT


The path to morality is not the territory
~Soph Laugh


"There's an old-fashioned word for the body of skills that emotional intelligence represents: character." (Daniel Goleman) 

George Washington University social theorist Amitai Etzioni describes character as "the psychological muscle that moral conduct requires."

I love to philosophize about the nature of existence and my/our place in it, but when it comes to interacting with people, psychology is my go-to field for emotional balance. The snide philosopher in me would like to claim that there is a difference between thinking and feeling and that psychologists belong to the latter group of individuals (a remark made in derision by one of my professors skilled in striking egotistical cords in young, impressionable students). 

Neuroscientist Antonio Damasio blew my professor's theory right out of the water in a groundbreaking study where he discovered that emotions were linked to our ability to make decisions. Apparently there is no rational way to think ourselves through a decision without simultaneously having an emotion. 

So it's,
Off to see the Wizard of Emotions ... 



From here (the place where one receives or can give to oneself good or expert counsel) I can better evaluate the efficacy of actions I wish to take. I can also modify actions that have a less intense but cumulative affecting value which will hopefully result in my making better decisions over time.

Consulting my inner psychologist does not mean that my behavior will radically change without this type of study and reflection, but the thoughts I associate with my behavior will differ. This buffering (the time between reflection and action) buttresses a new stable foundation from which I can better see how the majority of my every day life decisions interact to create a whole. The trajectory our decisions take is directly related to the forms our decisions erect. 

When one's decisions come from a place of self-discipline, emotional intelligence is controlled by human will. When one leaves decisions up to fleeting or *ignored emotions, the corresponding behavior often times lacks what is commonly referred to as good moral character. 

The nature of our existence as it relates to our present bioenergetic form requires our coparticipation with forces that do not always feel harmonious to our own. When this happens, studies in virtue, empathy, compassion, and understanding can temper quick and whimsical emotional reactions that ignore sound emotional reason (which takes time to cultivate) in favor of (unreflected upon) easily adopted biased stereotypes, which breed intolerance and rejection of differences. 

Unreflected upon (and thus unmanaged) emotions can detour human reason from its rational course, resulting in a person's inability to function, to control and channel their urges. Reflecting upon emotions more easily results in our ability to make sound decisions. 

But how does one reflect upon emotions? Do we seek out books on emotional intelligence? Do we consult wisdom literature? Do we look to world leaders and the successful for guidance? Who is the ultimate authority on human idealism, and is there such a thing? 

One could consult a variety of sources, or one could even consult humor for insights into human behavior. One could push the snooze button on all this thinking business and go pour oneself another cup of coffee (one moment, please, I'll be right back). 

(I'm back. Now, where was I? Oh yes, where do we turn for sound advice?)

THIS EMOTION -vs- THAT THOUGHT


THIS EMOTION versus THAT THOUGHT are our two expert sources. The result of the specifics of this engagement become our rationale for acceptance or rejection of a thought or idea. 

There is not one single source of material that can answer our questions on which actions to take, but we are more likely to experience successful outcomes if the material matches our highest goals and desires. 

To determine whether or not the material you consult is aiding your emotionally based decisions look to the results of your actions for answers. If your life closely resembles that of your desires, then the material you are consulting is directly proportional to your innermost hopes. If your life does not resemble that which you desire, then consider exploring new material. 

All material is relevant to a given area of existence or it wouldn't exist. As such it is not about finding the best among all the materials available for human consumption. Success comes from choosing the correct material to aid us in making decisions that feel effortless ('effortless' does not imply the absence of work). When decisions feel sound they usually result in positive outcomes. 

Nature suggests that polar opposites exist. As such a positive outcome for one might indicate a negative one for someone else. This negative outcome could be as innocuous as someone simply not choosing to formulate an opinion on a given material (rejecting stereotypes in favor of purposeful non-judgment) until such time consideration is due. 

Not all information is necessary for human beings to make sound life decisions. So long as the decisions we make relate to our highest goals, ideals, and personal desires - keeping in mind the understanding that everyone has their own version of happiness - we can make decisions that feel like the best choice among the many. 

We cannot consult all material sources in the world (it is physically impossible). We cannot manifest every experience by mere human will given the limitations of nature. BUT if from within this sphere of existence we can manifest the best that our specific experience can offer us, we can be sure that our expert guides (emotion & thought) will be available to guide us so long as we invest equal interest in both their well-being (well, as in health; being, as in existence). 






*late 15th century in the sense 'be ignorant of'from Latin ignorare 'not know, ignore,' from in- 'not' + gno-, a base meaning 'know.'









Sunday, January 4, 2015

Playing Along with Nature

Here's the Church figurative (2009)

The strangest thing about quantum mechanics is how extraordinary these theories are in predicting the observed behavior of physical systems. Apparently Mother Nature wants us to turn old classical theories of the physics of our Universe upside down, if only to get a better look. 

Nearly everything I write about in my blog has an element of quantum theory pulsating through it. Irrespective of where my thoughts land, irrespective of their corresponding sensations, I, like everyone else, am held, suspended like a Big Red Balloon in a quantum like experience and thus subject to coparticipating in the processes by nature of my existence. 

This idea sends my mind off skipping through the many charming allegories of the world. A series of analogies such as Alice in Wonderland or The Wizard of Oz, or older classical stories of the gods and goddesses of myth and legend to the modern scientific tales, including the quantum tail, offer my brain a delightful romp through the many forms of perceived or imagined existence. 

I linger in the places that bring me the most pleasure or those whose understandings expand my own. Wherever I land I examine the space I inhibit. A scientist might refer to this space as Quantumland, a mystic as Nirvana, a magi as Source, a pious one as Heaven; however one might refer to the spaces my mind travels in order to share blog post after blog post on seemingly divergent topics, the spaces are there to describe. 

Whether any description, metaphysical or scientific (presuming method or only method differentiates the two), isn't pure fiction and the characters imaginary, one cannot know. The lives we live, the thoughts we formulate, the ideas we hold come together in the sense that all of these experiences take place from within the "real-world" and are thus part of the real world we seek.


What we create varies with our environment and her present elements. Playing along means exploring all possibilities within each realm while that realm is present. The effects of the varying vibrations within any realm continually move those spaces forward, making every realm temporal in nature. 

Whenever we arrive to a realm we are encountering that realm in a specific, not all-defining, moment. The combination of our culminated vibrations and attractions and repulsions combine to erect new edifices which remain for however long nature provides a complimentary environment for their presence. 

This quantum space is in some ways like biological experience insomuch that it is temporary in form, with all forms very much being at the grace of natural elements. This does not diminish the presence of any form, it merely offers a heightened experience outside the realm of what we perceive as its classical (temporal) movements. 

From these forms ripple outward all those amazing relevances we encounter in the world, the significance of any given wave or form encountered are ultimately the stories or adventures we tell ourselves. 

Quantum theory is sometimes nonsensical in how it describes the many worlds we physically, mentally, and energetically inhabit. But nonsense can be good; it can be more than those delightfully funny moments, it can also describe those highly intoxicating and mesmerizing experiences, the ones that leave us in a state of wonderment. 


Little Girl playing in sand on beach
Brenda Hoddinott



Wonderment may have very little to do with the efficacy of a given thought, unless one is seeking a connection to combine elements. Seeking these connections between all our sciences, mythologies and fantastical tales involves our reaching beyond ourselves to peek out over the castles in our lives, including the ones we erect for ourselves. 














Saturday, January 3, 2015

Having Fun on the Battleground of Life



Most adults live their lives somewhere between "as if" and "what if" and "if only"... but how often should one employ this Sneak Peek access tool and what should someone do if they find themselves lost somewhere therein?

Language has provided us with an understanding of the use of paradox, suggestions, oxymorons, and so on. But these are all tools and techniques; these are mechanical. Non tangible qualities such as empathy provide us with feedback that fuels, clarifies, and enchants us into higher understandings of self and others.

When deeply reflective type A personality individuals ruminate on language and on the intricacies of the alphabet, the notion of having had lost a bet against stagnant thinking comes to mind. Why must I spend so much time thinking about so many nothings? How does one return to stale, ordinary thinking after one has already thought themselves through labyrinths of paradoxes and nomena out of the phenomena? How does one escape the agon of knowing and not knowing?

The enchantment that arises from having fun feels like a category other than the list of vague and intangible techniques listed above, though this does not distinguish having fun from fascinating an individual.

If we employ a sort of self hypnotherapy as a way of differentiating these Sneak Peek access tools away from their classical forms of dominating our minds, these indirect techniques can empower us to recognize new horizons of significance.

If our self hypnotherapy involves the structure of having fun, we can act out the role of the Magi, Sorcerer, or Goddess from myth and legend (and literature) to induce the state analogous to the sorcerer's magic incantation.

In other words, we can redirect our gaze toward a new object in our self hypnotherapy. We can redirect our gaze toward the object of fun. Most cases of self hypnotherapy send people running into the environing world. More importantly, under what if enchantments. If only I can do this or that, I can experience happiness. In this state whatever is suggested feels like the answer, and thus the motivation for doing all the things that do not produce the desired sensation of having fun or feeling happiness. One can renew their existential meaning of life by ruminating on the results and then feel a sensation akin to happiness, contentment, pride, relief, and so forth, but this is a secondary sensation, one that comes about as a result of what if or if only scenarios playing out as planned.

If one's gaze is directed toward the object of HAVE FUN, then the way in which one plays out the scenarios changes. It becomes more fantasy like. One is not merely painting walls, one is painting a portal to another land or dimension.

Having fun as a final motivation consists of a rather vague notion that some value is to be real-ized. The role of our inner Magi is to create a symbolic horizon that empowers us to achieve this goal. At times the outcomes may be the same, but the experience changes. Think Walter Mitty minus the haplessness.

I would argue that HAVING FUN is a vital part of the essential structure of living a good life. Everyone has some difficulty occur in the course of their lives, but calling upon Athena to fight the good fight while you entertain yourself on the sidelines maintains a healthy barrier between the battlegrounds of our lives and the existential experience of being human.

But what does one do with all the wreckage and emotional carnage that falls on the battleground? The first rule is DON'T PICK IT UP.  Leave it be. Give it a proper burial. Not just a symbolic one. By employing our friend language and the alphabet, we can label it into three piles:

  1. Properly Exposed
  2. Overexposed
  3. Underexposed
Properly exposed emotional wreckage shows the difficulty as is, no filters. This is like looking at an Escher drawing with all its complexities depending upon the angle of one's viewpoint. Here difficulties are less menacing. This is not to say that there are not deep feelings associated with these difficulties, some are transparently tragic; but they are separate from us because we are the ones doing the looking. Thus the tragedy is not entirely within. It is only within when conjured. This properly exposed mental snapshot can then be folded up and placed into an envelope, and set aside. 

Overexposed emotional wreckage highlights those things that life has previously heightened for us, those things for which we are now hyper vigilant or en guarde. We see these things first, and sometimes they are so bright we cannot clearly see what is next to them. Poignant sensations are evoked when our minds see these images. Once our heart rates stabilize, we can fold up the words we used to describe the sensations from these difficulties and place them into a second envelope, setting this aside with the first one. 

Underexposed emotional wreckage keeps us intrigued. It is a perpetual revisiting of that which we think we might have missed. What is that shadow? What does this mean? The underexposed difficulties we experience is what dissipates fears into an eternal oblivion. We simply don't know enough about whatever it is we are considering or seeing in order to know what exactly we should be fearing or doing about it. In this respect, ignorance is bliss. Whatever we missed, surely the universe will find a way to tell us if we really need to know. But the fact that nothing has happened, means there is a higher probability that these difficulties could have manifested but didn't. Forgive my cheekiness, but maybe it is time to move onto new difficulties, giving these ones a rest. Fold these difficulties up (if you can find them), and place them into a third envelope. 

The question here is what do we do with the envelopes? We can keep them, tuck them into our sachets or wallets, place them on top of our desks, tuck them away into a drawer, file them, burn them, blow them up with bottle rockets, turn them into art, etc. 

What we do with the envelopes is a reflection of the transformations we experience while contemplating the difficulties that define what we write on the papers we stuff inside the envelopes in the first place. This turns difficulties into games, which are meant to be fun. 

When we are having FUN we are reflectively aware that our state of consciousness is a hyper-awareness, which is occasioned by the recognized fundamental change in the way we intend our environment. Allowing ourselves to have fun provides the receptivity to a wholly different form-coherence of each overall experience. Some specificity within the environment manifests as the figure against the background we perceive and becomes what Husserl calls the nematic correlate to a noetic core of attention (Edmund Husserl, Experience and Judgment). In other words, having FUN is the motivator for "having fun" and the sensations of happiness or contentment that follow. 

The fringes of conscious awareness involve the perceived primary environment, which when transformed by our actually HAVING FUN stand out from the suspended horizon of the everyday hum drum signification of the same primary environment. 

2014 Business Climate in Mexico

Even these lamb remain horizontally aware that T-Rex is a little "too close" for comfort. But for now they are choosing team mates in preparation for the upcoming game of 'run for your life'. Turning T-Rex into a player on an opposing team is more fun that being horizontally aware of the consequences from the standpoint of ordinary reality, but the game they are playing is actually a strategic one, potent in that the game allows them to play out the province of meaning in a more creative way. Here the lamb maintains the meaning of the game gained through the fun they allow themselves to experience. On the horizon of mundane consciousness, we can remain aware of the object of fun while reifying the movements one might make were the object of 'run for your life' nothing but a game. This is not to say that all fun happens while huddled in the corner of a toy shelf, but the sensation of being huddled together against a pending doom is not unfamiliar. 

What is unfamiliar is the football huddle. The coming together to formulate a fun new strategy to try out under the mental condition that signifies a this is just a game message to the brain. With FUN as our objective, we create mental scenarios that are interpreted as games. It is a sort of self-enchantment, but the potency is as formidable as that of a foe. 

This new reality context acts as a higher synthetic level of coherence and understanding. It synthesizes the congruencies of the qualitatively new playing field (as opposed to a previously perceived battleground) of intentional experience. It is not merely a fantastical or self-hypnotic state, but rather the successful higher-level synthesis of what the adult brain separated into distinct categories in the first place.

There is no promise for better outcomes with this sort of thinking.  This post merely introduces an efficient motivator that prepares our minds for higher responses by tucking away phobic feelings into three little envelopes. The symbolic meanings of the letters which make up words from our various alphabets written on the sheets of paper inside the envelopes literally become the material content that accommodates our mind's ability to create symbols for the province of meaning and understanding. 

Each person's cognitive style of thinking differs, but incorporating FUN as the object rather than the byproduct increases our finite ability to experience it. The sub-universe of our minds is where we live and the place from which we perceive the world. How we paint it motivates more than our words and our actions, it motivates our feelings and ultimately our experiences through life. 

Every object we think of manifests itself one way or another. It may be sitting plainly next to an overexposed memory, hidden from sight (until one looks for it), it may be barely visible and thus probably less significant than the thoughts or feelings we have ascribed to it, or it may just be there until we tuck it away and move onto new ones. 

All thoughts and feelings are personally chosen propositions, whether attributive or existential, and can be "believed" through the very fact of being conceived, unless they clash with other propositions believed at the same time. "One must be serious to deal with serious matters." 

By affirming our own terms in direct proportion to difficulties that arise in our lives (T-Rex might walk over the huge divisor and eat us, so we should huddle together, come up with some confusing moves, and ultimately run past T-Rex and find homage on another shelf in order to survive vs a phobic driven "he's coming to get us! Run!" response), we can disrupt the correlative province of fear and difficulty with fun and daydreams. 


The results might be the same, or the results may indeed be another viewpoint of what we enacted while under the self hypnotic state of FUN.  Our core attention may not define the entirety of our external environments, but it does motivate transformation into more than an existential gestalt. It motivates new thoughts and actions that sometimes serve to solve difficulties, leading the lambs to safety. 

The horizon of our everyday life-world remains available to our threshold for co-constutive acts of imaginary synthesis. In other words, choosing fun as an objective alters the natural conscious responses our minds deem explicable and turns them into fortuitous ruminations that convert the ordinary, mundane, or unpleasant into fun games of chance and intrigue. 

The qualitative alteration of the tension of T-Rex crossing the plastic barrier does not quantitatively reduce tension, but rather maintains a high tension that enables a player to reach further, run faster, and jump higher. The game offers a radical shift of perspective to symbolic meanings. The synthesis of symbolic significance constitutes our hyper-awareness and ultimately our ability to have fun with difficulties, on what some call the "battlefield of life". 

The transition from one perceptual context to another is not always instantaneous. Sometimes it proceeds through intermediate stages, but the threshold is there should one mentally walk themselves through it. The trick is to jump once one reaches the precipice. The leap is not as far as one might think. It is a simple replacement of the final objective to fun. 

10 Disclaimers: 

  1. Choosing FUN as one's final objective is not for those who do not enjoy having FUN. 
  2. FUN as a perceivable style of personal experience entails the potentiality for having FUN. 
  3. Having FUN requires being receptive to transcendental meanings. 
  4. Finding the FUN as a motivator in a difficult situation alters our "orienting mood". 
  5. In order to have FUN one must place oneself in a state of readiness for fun. 
  6. The material motivators for FUN are not always readily visible (some appear under or over-exposed), one must seek them out. 
  7. FUN is known to play games of hide and seek deep within the appearances of irony, or things that seem unbelievable or unthinkable. 
  8. Access to FUN requires a shift of coherence from every day forms of symbolic significance.
  9. The vision of FUN is entirely subjective, translated into significance by that which is enjoyed by the person imagining the fun. 
  10. FUN may be indistinguishable from enchantment.