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Jung had a much more optimistic view of mankind than Freud, and of art in particular. Not all was rooted in sexuality, or in personal experience and psychological difficulties. One type, psychological art, certainly drew on the assimilated experience of the psyche, creating work generally intelligible to the community. But there was also another type, visionary, which drew on the archetypes of the collective unconscious, creating work of a deeper and less individual nature. Appearing in dreams, mythology and art, these patterns took the form of images — self-originating, inventive, spontaneous and fulfilling images. In some respects archetypes could be viewed as metaphors which held worlds together and could not be adequately circumscribed.

cauldron: go!

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"I am eagerly awaiting the appearance of some dimwit of a monk (or barring that, half such a monk) richly endowed with a natural stock of spiritual power and kindled within by a raging religious fire, who will fling himself unhesitatingly into the midst of this poison and instantly die the Great Death. Rising from that Death, he will arm himself with a calabash of gigantic size and roam the great earth seeking true and genuine monks. Wherever he encounters one, he will spit in his fists, flex his muscles, fill his calabash with deadly poison and fling a dipperful of it over him, drenching him head to foot, so that he too is forced to surrender his life. Ah! what a magnificent sight to behold!" (Hakuin, the decrepit one-eyed bozo, spewing out his filth from "The Importance of Kensho")


b-side: In Shi(mp3)
cauldron: brewer

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cauldron: socratic_poison

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Karl Pribram recently wrote: "Brain scientists have, in fact, repeatedly and fruitfully used metaphors, analogies, and models in their attempts to understand their data. Only by the proper use of analogical reasoning can current limits of understanding be transcended. Furthermore, the major metaphors used in the brain sciences during this century have been provided by inventions that, in turn, were produced by brains. Thus, the proper use of analogical reasoning sets in motion a self-reflective process by which, metaphorically speaking, brains come to understand themselves."


cauldron: action-at-a-distance

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"It's dark because you are trying too hard. Lightly child, lightly. Learn to do everything lightly. Yes, feel lightly even though you're feeling deeply. Just lightly let things happen and lightly cope with them. I was so preposterously serious in those days…Lightly, lightly—it's the best advice ever given me. So throw away your baggage and go forward. There are quicksands all about you, sucking at your feet, trying to suck you down into fear and self-pity and despair. That's why you must walk so lightly. Lightly, my darling."

cauldron: the abyss

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"Let's go slowly because you see, if we go back to the scientific, even common sense point of view, implicitly time is taken as the ground of everything in scientific work. In fact even in ancient Greek mythology Cronos, the god of time, produces his children and swallows them. That is exactly what we said about the ground; everything comes from the ground and dies to the ground. So, in a way, mankind long ago began to take time already as the ground." (David Bohm, the Ending of Time)

grey matter

cauldron: the well

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"The wise thing is for us diligently to train ourselves to lie thoughtfully, judiciously; to lie with a good object, and not an evil one; to lie for others' advantage, and not our own; to lie healingly, charitably, humanely, not cruelly, hurtfully, maliciously; to lie gracefully and graciously, not awkwardly and clumsily; to lie firmly, frankly, squarely, with head erect, not haltingly, tortuously, with pusillanimous mien, as being ashamed of our high calling." (Mark Twain, On the Decay of the Art of Lying)

grey matter

cauldron: anger

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eon: an indefinite and very long period of time, often a period exaggerated for humorous or rhetorical effect.

Only brutalised criminals and insane persons take absolutely no interest in their fellow men; they live as if they were alone in the world, and the presence of strangers has no effect on them. But for him who possesses a self there is a self in his neighbour, and only the man who has lost the logical and ethical centre of his being behaves to a second man as if the latter were not a man and had no personality of his own. (OW, 1907)

grey matter

cauldron: crime

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The first Animus appears in dreams and fantasy as the embodiment of physical power, an athlete, muscle man or thug. In mythology the forth stage of the animus appears as Hermes, messenger of the gods; in dreams he is a helpful guide. Any of these aspects of the animus can be projected from inside the woman and onto a man. It doesn't always fit. This can lead to unrealistic expectations and acrimony in relationships. The animus is the deposit of all woman's ancestral experiences of man. (paraphrased)

grey matter

cauldron: anima

The Despair of Weakness
by Soren Kierkegaard

The despair of weakness is the despair of not wanting to be oneself. This kind of despair amounts to a passivity of the self. Its frame of reference is the pleasant and the unpleasant; its concepts are good fortune, misfortune, and fate. What is immediate is all that matters. The determining factor is what happens or does not happen to oneself.

To despair is to lose the eternal, but of this loss the one who despairs in weakness says nothing, it doesn't even occur to him. He is too preoccupied with securing his earthly existence against unnecessary deprivation. To lose the earthly, however, is not in itself to despair, yet that is precisely what this person speaks of and calls despair. What he says is in a sense true, only not in the way he understands it. He is turned around and what he says must be understood backwards. In other words, he stands there pointing to something that is not despair (e.g. a loss of some kind), explaining that he is in despair, and yes, sure enough, the despair is going on behind him but unawares. Therefore, if everything suddenly changes, once his external circumstances change and his wishes are fulfilled, then happiness returns to him, he begins life afresh. When help comes from outside, happiness is restored to him, and he begins where he left off. Yet he neither was nor becomes a self. He is a cipher and simply carries on living merely on the level of what is immediate and of what is happening around him.

This form of despair consists of not wanting to be a self, really. Actually, it consists of wanting desperately to be someone else. Such a self refuses to take responsibility. Life is but a game of chance. Hence, in the moment of despair, when no help comes, such a person wants desperately to become someone else. And yet a despairer of this kind, whose only wish is this craziest of all crazy transformations - to be someone else - is in love with the fancy that the change can be made as easily as one puts on another coat. Or to put it differently, he only knows himself by his coat. He simply doesn't know himself. He knows what it is to have a self only in externals. There could hardly be a more absurd confusion, for a self differs precisely, no, infinitely, from those externals.

And what if such a person was able to become somebody else, could put on a new self? There is the story of a peasant who had come barefoot to town but who made enough money to buy himself a pair of stockings and shoes and still have enough left over to get himself drunk. On his way home in his drunken state he lay down in the middle of the road and fell asleep. A carriage came along, and the coachman shouted to him to move aside or else he would drive over his legs. The drunken peasant woke up, looked down at his legs and, not recognizing them because of the stockings and shoes, said: "Go ahead, they aren't my legs." So it is with the immediate person who despairs in weakness of being a true self. It is impossible to draw a picture of him that is not comic.


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