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Visions

                              

        A fragment of historical perspective in Romanticism

The four-fold vision of Urthona.

Albion, the traditional name for England, was built as an apocalyptic, biblical place. The prophecies would later define the land called America. The old social contract prior to the Amercan Revolution, said, “men are born free but are chained prisoners,” became a spark to a calling of change; a new order called the great awakening.

In 1776, what was to become “the coming of manhood,” redefined freedom as a wholly complete.  Two characters associated with the allegorical holy land: Urthona’s daughter and the guardian prince of Albion, symbolized desire representing rebirth. She is freed from her sexuality. Albion, caught in British colonialism, realized an inadequacy of vision which was an underlying issue in the British empire was pervasive and deficient of civilization.

The conservative voice vs. the American.

Everything is occurring by way of revolution. This was the prevalent voice. “The holiness of theself.” Walt Whitman’s “Song to Myself” was a four fold vision. It was to “cleanse the gates of sense” and as Blake would call it the “doors of perception.”

Wordsworth.

The great poet Romantic, was an anti-intellectual, not in favor of learning. He was more or less concerned with a visionary union of nature. Heavily influenced by the French Revolution, Wordsworth felt its powerful fever transcend through dream visions, rather than pragmatic reason.

Coleridge and Wordsworth.

Wrote a collection of poems together. The first manuscripts were contributed to Wordsworth. He wrote 18 and Coleridge, four. Coleridge wrote the ever timeless “Rime of the Ancient Mariner,” and Wordsworth followed with the epic “Tintern Abbey.”

Nature was a physical presence rather than a sacrament of nature. The common man obscured by noble mythology and neo-classical paradigms. The poet, void of particularities and constricting models; he is someone who feels universal to the emotive being of nature as an out within realm.

Poetic Criticism

I believe you can strengthen the 'mood' quality in the specificity of depth with regards to the tactile nature of the poem. 

For example, 'covered mass' may be replaced by 'dewy moss', 'fog shrouded', etc., perhaps implying the coming of Spring which the next line will help support by 'waking from the drizzling tears' of clouds and so forth. 

Nature's details open the portal to our moods because they are our emotional make up in a sense. Fear and howling wind go hand in hand, for example.

There are mood qualities in every event of nature. The Chinese have a specific character describing the quiet contemplation of watching the mysterious disappearance of say, a flock of birds flying in the distance, or a distant ship disappearing into the ocean fog. Detail is the key in capturing essence, abstractions always remain one dimensional so to speak. You may write of a conversation between two people over coffee and capture the mood not by the content of the discussion, but by the detail of their actions during the conversation, such as how they grab the mugs to permeate warmth through the body, blowing ripples as the sobering steam rises and fogs their glasses, etc. These details permeate deep into the reader because of 'sensation', 'tactility'.

In sculpture for example, the enticement to touch the piece evokes sensuality beyond vision and concept. Going a level deeper is the ability of sense transference, where a painting for example, may evoke taste through vision, specific taste. We had an instructor in Sci Arc who had students suck on two lemons inside a dark closet, then draw the experience of the taste. 

This was an exercise in understanding the essence of 'lemoness' as an individual quality. Every object in life has its specificity.   This awareness of the five senses is key in bringing life into any creation we do. Abstraction always falls short and is limited to concept. We always made a joke of conceptually driven architects having to stand by their buildings and explain its 'meaning' to all who enter.

An Observation - Nature

ch. 1

We come into this world without logic and without reason; and everything which  

we desire is bounded by all which is above and around us.

Nature explodes life upon us, bursting with the birth of energy, created for us to reflect and contemplate upon its existence.

We are, in this reflection; into through and beyond the absorption of light and the absorption of darkness; it is a conscious distinction we make, that which to sense our awareness.

 Consciousness forces us to commit an understanding with forces outside our own selves.

We are bound inside nature and all her elements envelop around us.

Our reasons of logic and understanding things about us and about things other than our selves, is a dual belonging of personal and collective truths.  We determine how right or wrong we may be by comparing our own ideas and opinions with that of others who are subjected by similar acts and conditions.

ch. 2

We have morals that define our meanings of things, we live under the guise of truths that speak to our selves and question if the sameness is true for others.

We see reality by reflection, even ourselves. In light, we are aware by our reflective senses; by dark, we are aware by only our existential being, that which it is directed by the will absent of our conscious illuminative reflection to the outside self.

The dual nature in darkness is the illuminative reflection of your thought and the self within. In light, it becomes your thoughts and the self without.

Your senses map your awareness by imagining the reality of the world to be intrinsic to you.    Whether we like it or not the cycle of rebirth and death happens everyday – a bounding existence – this, we call the order of nature absolute – or, the pureness of truth and beauty – or, sameness, oneness, likeness, such is or suchness, the yolk, the untouched, the absolute.

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These are “bounding forces” which define our reality. Truth – absolutism is eternal; a concept that can only be contextualized by an order of logic. Logic is our knowledge of understanding the imposing realities within and without us that shape our awareness in the sense of our moral and aesthetic wills of determination.  So, realizing our world as it is requires the awareness of the order of nature to be manifested in its absolute contextual form through our re collective interpretation of it.

Our reality is symbolic; it is a second class citizen of truth. This determination is evident by the many religions, opinions, subjections, objections we carry within and without us with varying degrees of integrity, depth, deceit, indicating an existential reality blurred by our own senses.

As an infant, free will is the self, being; or rather, the self exists not knowing the world around and within. The sense of self acts by no subjection other than what nature subjects it to be. It was no moral compass, no justifiable intent to thoughtfully act but to only act objectively to the desire of natural “suchness.”

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In other words, you act such as nature acts and so the intention of your free will is existentially subjected by the sameness as the object of its nature, which is to say, the sameness as the will of natural order. It is close to its yolk, transcended into a new realm of nature. The infant mind begins to grow and evolve outside of its yolk, its seed of suchness. It begins its initiation into its new reality by intending to do things subjected by objects for which he desires through the sense of conscious awareness by intellectualizing its reality.  Such things as colors, shapes, objects, people darkness light etc. Consciousness is subjected to act now by your intentions, shaped and formed by reality. Breathing, a heart beat, sleeping are examples of suchness that do not intend anything other than act in the sameness of its subjective and objective. The act of breathing is subject to act by objectives subject to any objection other than the absolute truth of natural order. Any other circumstantial reaity order would not allow breadth to “be.” In that Breathing is not an act of will; either by moral or aesthetic sense.

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It only acts in the sameness of thought, and vice versa. If breathing was not subject to act by the objective order of its being subjected to by nature alone, then it will cease to be. That is, thought and act are in the likeness of the light and the dark, which we call it Life.  Because there is only one absolute reality of Being in the Oneness of nature, then out of that sameness becomes your initiation to the subjection of the object of natures trueness.

As you grow your awareness is subjective to a world of symbolic logic. Sameness is challenged by free will. You develop of a moral and aesthetic sense to your world within and without your self. This causes the self to learn its duality of the reality imposed and the true reality if absolutism. In some cases, like your Mother, is a reality outside your self which reflects an absolute sense of aesthetic and moral oneness with your natural being.

Therefore, your being within and without is much in the sameness as your mother. Yet, a frightening image or a  moment in darkness may cause your reality to be subject to a sense of moral and aesthetic purpose, subjecting you to act. Free will mehanisms become sheltered from the world, as you protect this most natural power within your nostalgia your memories etc.

ch. 6

When life dies it is the time of new birth. A chance again for life to create by accidental consciousness. Evolution is how life balances the symbolic logic universe and the presence and mechanisms of its free will senses. Death is absolute. It has to be. It is the fuel of life  it incubates the seed; where light is absent and all impurities absent for life to have a chance at evolution. The balance of imitation of symbolism and nature is as well the representation of the dual nature outside of us.

Death needs life as life needs death; As life dies, it fuels death to burst new life. The moral sense of both share a common purpose; to evolve. That death represents the absence of sense and known faculties, life is the mirror of death; a reflective inclusion of light which entertains the sense of aesthetic and moral purpose. This is an evolving

ch. 7

process designed between the duality of inclusion and absence of sense.

Because in death, the idea of time is an ambiguity to life, death has no relevance for the idea of time. It is interested in the idea of evolution. Evolution happens in death which can be seen as a more sterile laboratory for the production of life. The incbation effect. Life cares for the idea of time because it delays the inevitable unknown of death. It hopes its fate would evolve to serve an underlying unkown purpose, only in death may we sense its meaning.  On stage, this unkown sense of underlying purpose is the metaphysical awareness which we manifest as ghosts, apparitons, unidentified contacts etc . To serve the moral asesthetic purpose of life, it is a symbolic reality we accept as close to the absolute unkowns we pontificate and politicize with ourselves. Hamlet’s ghost; Kubtick’s caretakers in The Shining.

The sense of moral awareness through symbolic logic. It becomes magical surreal etc  you see a box that says ‘open.’ You pass on it..it tells you again.

ch. 8

Somewhere else, you refuse. It continues until your acceptance: the divine. This is the moment you are aware that your free of sense allows you to walk into directive energies. This in itself is evolution. So since life is to preserve this balance of symbolism and free will of sense in the most natural order, the moment of light intrudes and the box is opened to only find what the next mindful adventure would be. And if it cant oprn the box it will die to fuel another chance at evolution.

If we don’t evolve then life would pass us by. Life is a mere piece of the evolution of energy. It doesn’t wait it continues because it has to. It is built upon layers of hierarchy.

Once you understand you similarly fear that which you understand. If your consciousness has know awareness of the dinstinction of life and death, than the awareness has no concept of the fear of life and death. It becomes innate to instinctive absolutes, consequentially absent of faculties reasonable to distinction.

ch. 9

Truth is not always the same as reality; it asks the question, “is reality is truth?” Truth exists with or without resolution. It is not subject to conspiracy or controversy. Reality can only agree with truth. It is the subject of reason not the object of judgment.

Nature is the object of judgment. Religion and archetypes trivial to nature are superficial objects of judgment. They portray the artificial embodiment of an absolute nature desired, imitated by rhetorical symbolisms of logic, transcended from its parts into collectively adopting its laws which sit conscious and present in our psyche.

An archetype is a symbolic commodity that has absolute collective moral awareness. It is an agreement of a proposed collective truth recognizable universally. It is the manifesting of nature into a being of the collective self.

We collectively agree the eagle is strong and mighty. Therefore, the symbolic commodity of an eagle is characteristically universal and absolute. It has now been attached with a moral  sense, manifested into the representative order of our reality. The eagle as an existing creature of life is amoral; the eagle does not contemplate its strengths, whether it flies better than any other bird. It has no idea it has manifested into our collective awareness of moral sense! At all! As a manifested being, it is commoditized and sold, with the deception of morally suggesting willful intent. The order is artificial and has no integral strength alone, yet embodies moral strength. Morality is the adversarial partner of nature. The morality of being is adversely effected by truth. The more ‘morality rich’ a symbol personifies the more it is subject to its servile self of sensing realities that filter and edit its composition.  an idea is always  subject to the servitude of its collective moral senses.  The more absent the moral sense the less its subject to its imposing realities desiring its absolute strength of imitating truth.

If reflection was a mirror, morality would be the projection in the mirror; nature would be the projected object of desire, amoral and absolute in aesthetic truth and beauty.  Its true existence is determined absolute by any of the faculties of sense.  Nature is not a symbolic quality; it is a natural quality. Artificial design has symbolic qualities; like a Picasso, it’s strength is in its symbolic depth and its contextual choreography of reality imposing truth. This is a reverse order. It forces truth to squeeze out of its canvas. Art that is aesthetically proximal to spectacularity is absent of any moral sense; the sense evolves by intellectual- driven ritualistic designs of confluence in its infinite mediums that steer its attractiveness through its bearing consequences. Greatness is the highest form of imitative intent to seek depth capturing consciousness in the sense of truth.  Religion doesn’t go beyond, yet struggles to stay relevantly afloat  to the collective reality. The Ocean is ALL revelant; it has no moral sense therefore it exists truthfully and aesthetic absolute, free from any collective awareness that disregards it. It cannot and hence it overshadows its presence without any intent to do so other than speak it truth.

ch. 10

Religion is morally rich because it cannot stand on its own.it needs collective awareness to pose something greater than what its innate nature may already be. If you say the cross around your neck will save you then you are subject to moral interpretation. Because the cross and any truth it embodies collective is by artificial will, not natural will. The sun is amoral, it needs absolutely no interpretive reality. It is collectively univerdally agreed, absolutely, the sun is light; undo to debate. The Cross, although collectively absolute in a moral sense, it bears absolutely no natural weight to project truth, just reality. Poetical rhetoric is its vehicle to embody absolute truth. Rhetoric is subject to point of views. The desert embodies only absolute truth. Rhetorical poetry of  a desert would only project a moral sense of the desert, interpreted. now, since it is just a reflection of reality, not reality itself intrinsic with truth, therefore bound by subjunctive designs. Greatness in any artificial design has to embody as close as it could to its relative natural order.

The fall of man simply means we are second class citizens to truth and the natural orders of beauty. The right of doing things orderly is hidden within it absolute truth. We are collectively rich in strength only by numbers, yet collectively weak, only in truth. Our reality is a filtered perception of truth, attempting to interpret its reflection as close as we could to its absolute value. We have never been able to fly like birds, only the imitated version; the second class version. The closer we get to the mechanism of the birds powers to fly then it is possible we could do anything. We have never created life absolute to its natural form. We could nurture the seed we cannot make the seed. What makes the seed is the phenomenon. Since we cannot create absolute nature we cannot possibly create absolute truth. We can only create our own realities and impositions of true order instruction. Morality is a sense subjected by artificiality. It is the bounding of the will committed to act upon an imposing reality. Nature does not impose its reality; it simply exists in our reality. It is a natural reflection of creation phenomenon. It is not the subjected, it is the object of many desires to be manifested into one of their own, naturally. Religion, dogma, secular ideologies, and the like, desire the ability to reflect a creation phenomenon to embody an object of collective desire, yet it cant just like we cannot fly like a bird only imitate it. Can you say an airplane is a bird? It s an imitation of a bird so in our figurative reality it is a “bird.” Yet, we all know only figuratively. With the manifesting embodiments we collectively share to be true, it is hard to morally expel the snake as the devil which tempted eve to bit into the apple. Morally rich, subjected to several realities, it’s the impurity of the sense of belief that keeps the snake in its symbolic fate of controversy. Yet, we all know it is truly an absolute reality of truth, yet subjected to a moral servitude of reality absent and void in its intrinsic truth and beauty.

You can subject one †o seek a desire you cannot object one to seek desire.

The beauty of truth lacks moral servitude. It is absent of moral sense. It only embodies the existence of beauty and truth, absolute. A rose is a rose is a rose is a rose but car is  not a car is not a car is not a car.

ch. 11

We were created by the subjected desire of phenomenon. In a sense, nature as a phenomenon of both a creation and the creator is a phenomenon. its object of desire as the creator is existence, a subjected act to desire meaning. We therefore are subject to seek the objective desires of our true selves, just like the phenomenon concept of It, attempting to desire an object to seek absolute truth. When nature seeks her objective desire we call this evolution. We are subject to evolution and desire to object to it. This desire is our reality we impose on ourselves, collectively as well as to our own. We are only therefore objects of our own desires if we cannot subject anything else to our imposing needs. Narcissus was turned to a flower once he realized this natural order of phenomenon. Was he subjected to its order? Was he the object of desire by unknown entities? Or, was he metaphorically transformed into absolute order because he consciously became the embodiment of it? His desire was subject to the objective of nature; to be true by inherent aesthetic qualities beyond will and temptation, and attaining the absolute order of being, which is Love. Since we cannot Just Exist, nature let us to be absolute as well by way of pure love. 

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Pure love

Is the unconditional spirit to lve harmoniously with truth because only Love can fuel your endeavoring will to seek bliss truth beauty through natural imitation, not artificial imitation. Shakespeare is love because of the harmony of words that worl together like photosynthesis or the ocean waves. The interpretative is in its symbolic logic yet in the manner of his compositions is faintly moral, full of existential proximities that exude truth and beauty throughout.

The power to have “Be” Expression, to imply existence of no moral sense, to reflect only beauty and truth, to understand how the natural order of things realize. To act as close to your existential self realized state as you were in infancy; to have a realistically true concept of nature and to act upon it is wisdom.

We are specimens of phenomenal desire. Everything is perceived and reflected which are the natural filters manifested into our version of truth.  The only truth in life is absolute; fixed and only subject to its own phenomenon. It subjects us to desire its objective characteristics, which are uniform to its fixed ratios of profoundness. Moral senses are filters that distort the fixed ratios of oneness.  We live in the fallen world because of our desires to define truth from a moral sense.  Perfection is oneness; imperfection desires perfection; perfection is absolute, therefore it cannot desire it has evolved into existence. Zen is existence; it requires only energy to evolve into being continuously. It needs not to understand but just to exist as an all-knowing entity without a moral compass or reasonable will. Archetypes embody an awareness of mind existing collectively as a reality of agreeable truth, yet still having a moral sense which only gives it absolute imitative values not intrinsic natural values of truth and beauty. The BEAR, a symbol of archetype as the allegorical Soviet Union, is an embodiment of collective awareness of a sense of reality, not truth. A bear is not a communist, nor has it ever been nor desires or is conscious of its existence. it is symbolic.

a man in the arena

A Man in the Arena

Of Love of Death;

Like dreams they blur inside behind,

The sense beside it sleeps unrest,

A voice distressed the dual sounds,

The cry uncertain still of peace or war,

Of death,

The wicked sense of sound a murmur press,

Should take its course in speak with rage,

Between two poles; one love, of hate,

The core has severed gashed within,

Stain sounds they stand in crowds delight,

Drip down slow like stalagmites,

Of Love,

Lay down the corpse soak Blood,

Behind a blue dusk scopes a rush,

Shoots blood the noisy crushing blows,

Speak peace the tragic end to life,

Or death Like dreams they blur between

The sense of quiet ease remain to cease,

Of Love of death.

It was there; the night corner drinks and dance,

Caught into Heaven again like a green trance,

Eyes pierced stoic thick while brows play,

Your arrow sting breaks my skin like clay.

On nature -

The laws of nature are absolute; There are four seasons every year and the moon always appears and disappears in fixed intervals. It is a phenomenal how a tree grows, or how an ocean waves or why a tree apples.

Since language not absolute, it doesn’t grow like a tree or wave or apple like the ocean or the three, respectively; it is simply an artificial sense of our ability to recreate meaning.

The “self ”is somewhere bounded between nature and sense.

Your lesson is to think about all the sounds you hear today.

The influences of language:

The influence of language attempts to inject and configure appeal; the dynamic of natural order is its template which becomes a manifestation. The first order is to create a work of truth and beauty. Born into nature with an artificial sense, we therefore are bounded by an unnatural state of facades and fallacies that we think is natural and has universal order.

The many who do see and understand how language is dynamic and full of modalities, they will still find it difficult to master its absolute truth. So therefore, in a perfect world, the mastery of language is a simultaneous flow of acting and reacting harmoniously. This is its absolute intrinsic quality. Add some stress some emotional servitude and tradition; sprinkled with logic and reason, and you get an equation that looks similar to einstein’s theorems..In other words, language is so dynamic in so many areas of human life, that it takes a lifetime to become aware of its power. In irony, as many would say, ‘the more you learn and know things, the more you understand how little you know.’

Example - The automobile:

1.     a thought

2.     an action

3.     existence

4.     You desire to troubleshoot an inconvenience; the horse as means of transportation. You have good arguments for it; a horse is a living creature and is subject to abuse. It has to eat it has to poop it gets cranky it eventually dies it can get stolen in a new york minute – it has no gps and you cant go faster than one horsepower. And that was only from the top of my head. You get the point.

5.     Amazingly, many people were probably thinking about the same thing. Everyone collectively shares the universe, and in theory, its spread out evenly to every living entity everywhere. These are what we call ‘natural laws’ created by nature not man.

6.     But as you begin thinking about how things work, you also begin to think about how things evolve, transcend, reflect,  contribute to, perform, and so on.

7.     Driving a car, or as they would say 100 years ago, motoring, is an effect of a thought determined by one or many to successfully design a structure of convenience; a so to speak race envelops from all the collective minds who thought and who had the same thing in mind. Horses are no good to drive.

8.     Therefore, a car, which allows you to drive, becomes that defining moment  where creation is masterfully designed, simply from a reactive desire to act  upon a thought – all the way through. Act React React Act becomes one.

9.     Henry Ford, who acted upon his desire to act upon a thought all the way through, developed the mass production line. It was first a reactionary process. Without an act there cannot be a reaction. Without reaction, there cannot be an act.

10. Say for instance, Democracy. Born to act to react against causes of oppressive governments. Fire to wood; The fire needs wood to burn. It’s simply an absolute law.

11. Nature has very little drama. Only nature can disturb nature. For instance, heavy rain may kill grass and the tiny beings that sliver through the blade sharp grass. But eventually, through mother time, mother nature finds a way to heal in the most absolute sense. The worm cannot impose the tree to stop growing; the tree cannot impose the ladybug to buzz off.  Etc etc. this because it naturally acts and reacts harmoniously, even in disastrous moments.. the reaction upon conflicting action is Art only if the act upon the conflicting reaction is equivocally absolute.’ Interpretation becomes locked together with perception and its counterpart, point of view.’ (track 2 discussion).

12. This is contradiction, and nature is full of it. When you can successfully contradict, or to say balance opposing entities into one collective solution, is in essence; Art – it’s truth – its beauty – it rhymes, makes sense, its practical it has charisma it speaks simply divine; such ideas are part of the designs of Art.

Stuffy Dream

                                                       Stuffy Dream

I drive through the Santa Monica Mountains, in my ‘61 landcruiser. Down the 170 freeway, it is loud and polluted.”

There! the monstrous structure looms with deep antiquity! The infamous mold of old history! An erecting archetype grandiose of contemplating appeal!  

The relic voice and starry persona of a city of luminous embers illuminates my senses;

The Hollywood Sign!

deterring attraction of magnetic temptation!

dreamy fixation of enthralling landscape!

As I drive south, I whimsically stare; I gaze at it; the deep simplicity and marveled persona, characterizing power and tragedy.

I am enveloped in my muse-child logic, which alludes an overflow of beauty in the tasteful palate of my blister popping mind! Hollywood: the stuff of dreams.