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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)

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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)

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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)

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cauldron: anima

The Despair of Defiance
by Soren Kierkegaard

Unlike the despair of weakness, the despair of defiance is the despair of wanting in desperation to be oneself. Here despair is conscious of itself as an activity. The self's identity comes not from "outside" but directly from the self. It is rooted in the consciousness of an infinitude, of being related to the infinite, and it is this self the despairer wants to be. In other words, such a self severs itself from any relationship to the power that has established it. It wants desperately to rule over itself, create itself, make this self what it wants it to be, and determine what it will have and what it will not have. The one who lives in defiance does not truly put on a self, nor does he see his task in his given self. No, by virtue of his own "infinitude" he constructs his own self by himself and for himself.

The defiant self recognizes no power other than its own. It is content with taking notice only of itself, which it does by means of bestowing infinite interest and significance on all its enterprises. In the process of its wish to be its own master, however, it works its way into the exact opposite; it really becomes no self, and thus despairs. As it acts, there is nothing eternally firm on which it stands. Yes, the defiant self is its own master, absolutely (as one says) its own master, and yet exactly this is despair.

Upon closer examination it is easy to see that this absolute ruler is a king without a country. He really rules over nothing. His position, his kingdom, his sovereignty, is subject to the dictates of rebellion at any moment. This is because such a self is forever building castles in the air, and just when it seems on the point of having the building finished, at a whim it can, and often does, dissolve the whole thing into nothing.

When confronted with earthly need, a temporal cross, a thorn in the flesh that grows too deep to be removed, the defiant self is offended. It uses the suffering as an excuse to take offense at all existence. Such a person wants to be himself in spite of suffering, but not in "spite of it" in the sense of being without it. No, he now wants to spite or defy all existence and be himself with it, taking it along in steely resignation with him, almost flying in the face of his agony. Does he have hope in the possibility of help? No! Does he recognize that for God everything is possible? No! Will he ask help of any other? No! That for the entire world he will not do. If it came to that, he would rather be himself with all the torments of hell than ask for help.

Ah! Indeed, there is much, even prolonged and agonizing suffering that the defiant self fundamentally prefers so long as it retains the right to be itself. Ah, demonic madness! Such a self wants to be itself in hatred towards existence, to be itself according to its own misery. It does not even want so much as to sever itself defiantly from the power that established it but in sheer spite to push itself on that power, importune it, hold on to it out of malice.

In rebelling against existence, the defiant self will hear nothing about the comfort eternity offers. This comfort would be to his undoing, an objection to the whole of his existence. It is, to describe it figuratively, as if a writer were to make a slip of the pen and the error became conscious of itself as such and then wanted to rebel against the author. Out of hatred for him, the error forbids the author to correct it and in manic defiance says to him: "No, I will not be changed, I will stand as a witness against you, a witness to the fact that you are a second-rate author." Yes, this is the despair of defiance, and what despair it is!


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