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Danae: the sense of creative mental


To sense the alchemists creative soul has an innate gift. The women manifested in the form of eros psychic when stimulated, while at a higher level (the tower, a symbol of the development of brain stimulation) the creative sense when it becomes a mental experience is "fertilized" by the words, images and the content transmitted from the knowledge of human nature (the golden rain of Jupiter). The sense of creative mental

is excited by Cupid, which slowly takes away the veil and exposing the female metaphor for the mind open to suggestions raised by the intellectual and erotic images of art, from the mythological events, from plots of films and novels.

The mind does not like the rumination of women's intellectual philosophers and critics, but can be "fertilized" by the "rain" that comes from the creative minds who know how to combine intuition and reason, perception and knowledge, love and aesthetic sensibility. The meaning becomes active creative mind leafing through magazines, fashion and art, and stimulates the soul to appropriate the words, images and other contents of consciousness (three drops) that are most similar to the sensitivity of the soul.

Danae's story looks not just at 'idea that the Renaissance alchemists were made of the Immaculate Conception of Mary. In fact, the creative mental sense does not need to get in touch with the "physical body", but absorbs the contents of consciousness (called Lithos spermatikós) directly from the "light" reflected by the images (the multicolored wings of Gabriel), or through the superconscious inspiration (the white dove carries the golden rain Zeus).

Danae and the Virgin Mary are toghether because of conceiving "ideas and feelings cognitive" (the two cherubs at the foot of Danae sharpen a red arrow and a blue arrow) in a "pristine" and that in the absence of teachers or lovers . The mental sense creative inspiration directly from the perception of light and not by chance Corrreggio paints a large window where you can admire the immensity of the sky.

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The sense of aesthetic rapture


For Ortoli and Witkowski (the pool of Archimedes, 1998) "the sense of myth is to serve as a bridge between science and ordinary mortals (including scientists), between the incomprehensible and the everyday, the magical and normal . Examples show how the myths of small bath of Archimedes. Newton's apple, the formula of Kekule bemzene, etc. ....

The "return to origin", characteristic of mythical and religious thought, is initiated by an inadequacy of knowledge. The origin of the myth is, for the common man, the fact of not being able to understand, to feel excluded from the path of ideas, not having access to large scientific theories for lack of adequate preparation.

Who knows the reality does not need myths, but for those who inhibit the perception of blood, horror, death, suffering and does not develop the tragic sense of life, the myth takes on the role (as in the fairy tale by Hans and Gretel) to disseminate the "seeds" * that take us back home, until they are ready, on their own (and with both hemispheres of the brain), to address the perils, pitfalls and proposals "sugar" produced by the false knowledge the body of his unconscious impulses and his powers Overmind (the witch of the woods)

But do not wiped out the thought that emerges from the universe mythical religious, mystical and psychological demands, in turn, to explain the reality invisible feelings, dreams and art through "formulas, rituals, alchemical correspondences and suggestions mythical-magical" unverifiable and inconsistent.

A hypothetical science of perception ", represented in mythology by the eagle of Zeus, might explain all types of visible and invisible, while it is clear that the scholarly interpretation of myths (anthropology, sociology, psychology, psychotherapy, religious and theological) leaves faint traces over time.

The myth elaborated by the rational mind opens the doors to intuition than where it is regarded as the mystical foundation of discoveries and inventions. The interpretation of the mythical-magical reality instead allows access to a dimension of moral, ethical and spiritual common otherwise inaccessible to reason rationally anchored in what is measurable, tangible and verifiable by the scientific method. The sense of sacrifice and renunciation would have no meaning in a society where there was certainty of knowledge.

The Myth is the throne of Zeus, the undisputed ruler of Olympus. With Zeus there is never a certainty and steel firm over time, as the spiritual and cultural patterns of society continue to change, evolve and devolves through the 'ceaseless wheel of the cycle of life, death and rebirth, of creating the future, destruction and renewal of the symbols of the past that must be pulse of the age-old archetypes in human consciousness.

Zeus is the lord of the conscience that emerges from the female psyche. As an Eagle, the cognitive perception of reality, Zeus Pische helps to fill the bulb with the waters of the Styx, a metaphor for a first level of knowledge of the symbolic meaning which accompanies every psychic manifestation of the subconscious mind, unconscious and iperconscia, and kidnaps Ganinede to heaven, emblem of the "sense of the myth" that was the basis of "thought he sees.

"The thought that sees the" foundation "mystical" scientific intuition and the disintegration of "rationalization" intuition made mythic, religious, not "delight" most of the aesthetic, philosophical and edonostici that life can reserve the intellect that "vague" in search of reasons for living and dying.

"I do not think being a painter in the full sense of the word. If, when I was young, the painting was a great pleasure, at times I was not insensitive to a spontaneous feeling which surprised me, exactly, to know without hesitation reason for living and dying. And 'this feeling that led me to break free of purely aesthetic interest. For example, I happened to stop suddenly to paint to be surprised of being (the mystery), to have a pattern living in front of me (myth) and to hear that see 'life' had a much greater importance to devote to the pleasures of the art avant-garde. In 1925, tired of those pleasures, I thought it mattered little to find a new way of painting but for me it was rather of what needed to paint, to know why the mystery is put into question. "
Magritte.


etymology of the word myth.
"Clement of Alexandria reports that in the jargon-Orphic jeratico Mitos means" seed "seed"
so that every myth contains a grain or seed of truth, that once placed in the bottom of our hearts, would germinate the numinous consciousness "(John Washer). This definition agrees with the image of the seeds dispersed by Hans and Gretel during the first phase of expulsion (forced) from the parental home (the knowledge and morality of the group).
The seeds of the myth are then swallowed by the system of perception (in the story are eaten by birds) and then introjected within the automatic system of cognition (the cognitive self). And 'thanks to the nurturing of the myth that the meaning can emerge spontaneously delal truth essential to recognize the false prophets, gurus and masters generated by the bad conscience of Western (the witch), able to manipulate the individual and collective unconscious drives (the forest) with technical transformation of self "and deliberately sweetened soft" so that it can be the illusion of healing or change

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The tragic sense of Meleager

Meleager killed the boar and uncles of Atalanta. The company, apparently devoid of heroism, but hides the complex dynamic built by the male and female libido. The company that developed the "mental sense of self", a synthesis of all mental activity aimed at improving the material living conditions (markets, trade, transactions, virtual money, planning, arrangements liberal capitalism or ends before ....) then suffer the wrath Diana.

The cult of profit and material wealth, the same celebrated Eneo, king of Calydon Etoli of record production that celebrates the harvest as a primary objective to which the eastern libido (force genetic designed to integrate opposites), is the source of human tragedy. The recent banking crisis, the victim aware of unscrupulous financial actors, and executioner of all the small investors, represents the archetype of the Boar, which ends up terrorizing and destroying the economic assets and individual consciences.

The wrath of Diana, the archetype of the process of evolution of the mental sense of self in cognitive perception of the dynamics that lead to the collapse of the "material and spiritual existence" of society, not only affects the community in a generic sense, but "embodied" in family dynamics as "fate announced" the death and destruction.

The Sidney Lumet, "Honor your father and mother," is the story of "Eneo and wild boar" to this day, within a family dynamic that is rarely found in the plots of violence affecting the lives of individuals. The archetype of Eneo is "embodied" in the figure of a man who for love of money and labor (the pope would say "for the sake of Mammon") neglects his two sons, deprives them of care and nourishment of the words that represent the 'only means of transmission of the moral conscience is essential for the psychological development of the individual.

The plot presents "Eneo" on the verge of retirement. And 'rich, has a jewelry store and shares his "luck" with his wife. She has two children, very different. The youngest is fragile, insecure, emotional, completely unable to contain the anxiety, fear and the instinct of flight adrenaline (the female right hemisphere), the other hand, is rational, cold, mental, analytical ( is also an accountant) and pursues his goals with clarity without any moral scruples or ethics (the left hemisphere male).

"Eneo" do not know that he cloned himself, his libido, in the 'soul of the eldest son, although, in the form subconscious hope that the child becomes better and better than him. "Eneo" does not realize that the anger of Diana was materialized in genetrico and that the "Boar" living within body and psyche of the eldest son (left hemisphere), and be ready to explode in all its wild libido.

Reading the "plot" is understood that the tragedy has only one protagonist: the libido. The male libido (the boar) causes death, evil deeds, violence, fraud, deceit, speculation, immorality, recklessness, madness. Female libido (the uncles of Atalanta) is more subtle, almost invisible, but no less cruel and hungry for "good life, comfort, pleasure, hedonism, lust, and therefore capable of betraying and" turning away "at the moment appropriate.

Wild Boar sow terror. The intelligence aimed at achieving the objectives produces the action immoral and without conscience report. There is only one remedy. Kill the boar, as soon as possible. His wife's death caused by human folly (the robber) induced by psychological impulses in the brain (youngest son) inspired by Libido (eldest son), produces a rapid change in the Father (consciousness). The desire to know the killer leads him to rediscover the "functions" of evolutionary Diana (cognitive perception)

Diana, the perception of the truth aimed at knowledge and resumed his place in the "conscious relationship" (Meleager the filius Mercury) and Eneo, rediscovering the will to eradicate the root evil, becomes Meleager and chases as the eldest son to choke him with his hands. The tragedy has come to an end.

The libido can be defeated only by death. Can be trained, educated and conveyed to high purpose, but will always be the "original sin" to be purified with the rite of Baptism. That's what the rituals and initiations to the art of Aphrodite. But we have forgotten.

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The boar

The male-female pair is the central pillar of the imaginary philosophical alchemy. Shiva and Shakti, Yin and Yang, Adam and Eve, they identify pairs of "energy" are not antagonistic in nature, but become so in the physical body, as well as the reality of phenomena, when the Libido, represented by the figure in Greek mythology the boar, it bursts into the clearing of the "brain", or the stage of consciousness.

Alchemy Renaissance offers a reading of "vertical" of Libido understood as 'genetic force' that drives man to seek life meaning and direction to their actions, they are designed to satisfy a hunger or quench your primary thirst for knowledge. Libido is the sulfur that the alchemist introduces nell'ambicco to provoke a reaction in the field, is the fire that heats the bulb at the base dell'Athanor inside that contains the raw Mercury (black bile) can be transformed into fluid (phlegm ), Elixir (CSF) and finally Stone of the Philosophers (cerebrospinal fluid, which is concentrated in the meninges and becomes a ferrous substance).

Adam and Eve, Venus and Mars, Apollo and Diana, The King and Queen, the Sun and the Moon Art Alchemists, unlike chemicals, describing stages of evolution of the libido and psychic drive (Adam and Eve ) in perception and action (Mars and Venus), logic and intuition (Apollo and Diana), consciousness and awareness (The King and Queen) until the final stage in which the "Philosopher's Stone", rich in iron and high-quality electromagnetic (our Magnet) will not be sensitive to the cycle of the moon relative to the sun.

It 'obvious that the implementation of the Philosopher's Stone represents the final stage won dall'appassionato of "Art and Sex", and instead identifies the first developmental stage of the neophyte who is now undergoing a daily basis to solve the problem "geometric" processing dela libido in love, creativity, consciousness and self-knowledge (squaring the circle in which there is the psychological drive)

A famous motto of the Rosarium says. "Make a circle (psyche) of a man and a woman (the sexual polarity) ricavane a square (the constants in diversity) and a square triangle (summary of three basic elements, body, soul and spirit); make a circle (summary of the conjunction of opposites is equivalent to Se) and get the philosophers' stone. "

The transformation of libido is through the containment of psychic drive array female (Eva), which is in fact the arteficie with all joy and damnation. When the psychic drive (the nymph Atalanta), for his nature to fast track any form of desire inspired by the libido (Atalanta chases and hits first wild boar) is educated, trained and channeled (the three apples of Aphrodite) towards social purposes and useful for the community (the harvest of wheat), then the individual (Eneo) reaches a stage of awareness where the emerging sense of self mental (couple's son Apollo and Diana) can direct the libido to good and righteous purposes.

Eneo The Greek legend tells that, after a year particularly fruitful for the harvest, he bestowed honors and sacrifices to all the gods but forgetting to Diana. The forgotten, the metaphor of a subconscious desire to stop the alchemical process of transformation of Sulphur, obviously triggered the ire of the Goddess who, in revenge, it sends a terrible wild-eyed fire to ravage the countryside in disntorni of Calydon, the city of Etoli .

Meleager, son of Eneo, the emblem of Mercury (Mercurius filius), which however is distilled during channeling delal libido in social activities, then decides to Afront the fierce animal by organizing an expedition with the most valiant heroes, the metaphor of a precise knowledge of the "power of the libido" to destroy the good that has been sown by the alchemists of matter (the heroes).

Meleager is not alone. At his side's Atalanta who falls for him, because he sees the possibility of an alchemical contenimrnto of the drive to act directly on the libido through a "forced" psychic inhibition dela evolutionary force. Atalanta detect for the first beast, demonstrating that the perception of women reveals the presence of "monsters", but not strong enough to kill him (as happens when women are raped in the street).

Ovid says that Meleager throws away from a first lance (intuitive perception) but that sticks in the ground, while the second (cognitive perception) reaches the animal wounded to death. In the scene painted by Brascassat (1825), we see Atalanta defending itself with a knife pierces the boar and Meleager aided by dogs, a symbol of the instinct that evolved from the instinct to expand instinctive sensory perception sensory perception in cognition.

Libido, as well as the alchemical sulfur, requires time-consuming process of purification before being removed from the field. Its main characteristic is the "imitation" and "transformed" to which is easily hidden behind smiles and good manners. The "chemical castration" is temporary of course if the individual (male or female) evolves in the alchemy of "power" women (self-love, sense of self) represented in the mythological story as "maternal uncle" of Atalanta.

After killing the boar, Meleager gives the trophy to Atalanta, but his uncles claiming he superbly held by the metaphor of the presence of subtle and often perverse libido of women in all human history in which we should share the honors and merits, real estate and securities, paternal inheritance and fortune.

Meleager then pulls out his sword and will "delete" without a moment's hesitation, even if it tries to Atalanta trattenrlo with an affectionate gesture of the hand, often as women do to justify lustful behavior of relatives.

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Consciousness as a female model




literature, cinema and art are taught how to achieve high levels of perception, intuition and knowledge of reality without having to study useless things or attend courses. Women writers and artists learn through the bodily senses (the second chakra) and can develop over time the meaning of mental (fourth chakra) and finally to a more advanced stage of synthesis of knowledge, to discover the truth hidden intellect through the senses (the sixth chakra).

The reference to Tantric culture is essential to understand how if the sense of mental evolving perceptual awareness (the cherub with wings) is the foundation of alchemical universal spirituality. Even in the West alchemists describe the same phenomenon experienced by evolutionary tantric drawing the three stages of development of cognitive perception (the spear in your hand by the child) that you win by following the Laws of the Great Mother.

The bodily senses investigate the mineral (the first stage of the column), a metaphor of reality dominated by basic instincts, the senses of the mind instead are able to investigate the plant world (second stage) breeding ground for feelings, emotions and feelings that inform us of the presence of love or conflict, the meaning of the intellect, Finally, unable to penetrate the world of myths and archetypes (the third stage) and to include games of consciousness simulated by male and female libido.

Beyond the third stage begins the world of initiations Art of Perception, a place of bliss in which we learn directly from the milk of knowledge that springs from the bosom of the Great Mother. It must therefore evolve in female power (second, fourth and sixth chakra) and develop what little self-consciousness that can poke through sensory perception (the spear), the fire of knowledge and the sacred smoke (adrenaline) that arises from 'psychic excitement of being loved and nurtured by the Great Mother, a metaphor for "Universal Mind" which is realized at the end of the Great Work.

The alchemy of the physical senses, mental and spiritual is described by the works of artists who write and paint what they know with their own senses and not through intellectual ruminations. These are just some examples:

1. The novel "Pride and Prejudice" by Jane Austen describes with particular acuteness the substantial difference of method that characterizes the male survey (action) than women (perception). The male pride and prejudice women can creatively resolved if the parties reversed roles and the perception of women progressing to observe, scrutinize, probe and filter out the positive elements from the past to preserve and enhance, assumes the leadership role of the action.

2. The movie "Girl with a Pearl Earring", inspired by the works of Veermer, emphasizes the role of the mother-in-law (the cognitive perception of reality based on the production of money), his wife (the emotional perception of reality based on instinct to protect the balance as well) and servant (the sensory perception of the point size interione BALANCE between reality and conflicts), in relation to the action of the creative artist. The film briefly describes the ability of the perception of women instinctively find the balance point of compromise dall'irrompere of light (the creative action) within the domestic space (Soul).


3. In the painting "Woman with a Balance (1664), Veermer metaphor in describing the talents of sensory perception of the woman (the virtue of Prudence / Scale / Justice celebrated by the Greeks) to restore order and BALANCE (or its opposite) in the consciousness Social (blue cloth). The natural chemistry of the cognitive emotions and feelings in moral sentiments (the pearl necklace) evolves in fact instinctive ability creative soul (the woman is pregnant) to judge the actions and discriminate the quality of light present in all forms of social relationship (the scale). Veermer Behind the woman places the painting of the Transfiguration, a metaphor of the stadium final process of "purification" delal libido that supports the creative action of the individual in society.

4. The intuitive perception of the soul is still relegated to the role of "servant" in the decision making process implemented by the developed societies, confined to play a weak role of social criticism when the "games are already made" and the "horse has already escaped from the barn. "

The culture of solidarity, peace, resource sharing, respect for differences, environmental protection and heritage does not have a religious foundation in ethics, compassion or charity. The civic consciousness stems from the development of perception female to capture the right balance between the parties and the whole and between the whole and its individual components.

development through its powers of perception plays a pivotal role in building the balance psychological, social and cultural individual and collective. Vermer was the artist who more than anyone else has explored and marked in all possible variations induced by the change of light within a domestic space. Art research unfolds, of course, even if the artist paints the same subject for a lifetime. Indeed. It 's easier that testing obsessive balance compromised by light, Vermeer is considered by the essence of every color, has the effect of stimulating early artistic sensibility.

The artistic sensibility is structured in four acts: balance, strength, depth and abstraction of the image. The artist who made the "four cornerstones" of the "alchemical Perception creates the" Philosopher's Stone "of the alchemists of the Renaissance, the metaphor of an enhanced ability to weave the threads of artistic composition with insight, wisdom, experience and originality. It 'obvious that the artist is not interested in these considerations "not useful" immediate. But those who learn to read the "value" of the images left by "Pride and Prejudice", may one day discover that they have the talent to perceive not both the "beauty" of art forms, but also the feelings, dreams, hopes, doubts and conflicts experienced not only by the artist, but also by people who share our daily reality.

The perception of inner beauty, aesthetic pleasure and spiritual chastity is the ideal Renaissance alchemist. Values \u200b\u200bnow lost in the limbo of forgetfulness of who we are and what we have been.

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Seven cognitive meaning of Consciousness


written by Marta at 10:51 Breuning


Beato Angelico, Annunciation

The bodily senses are not limited to the prerogatives of the five senses we commonly know. Vision, smell, touch, taste and hearing remain "silent" protagonist's perception if the soul of the right hemisphere inhibits the right brain to synthesize the physical sensations and psychological insights in kinesthetic sense, sense of self and self-love.

Taking care of body, mind and spirit, the "masculine trinity" that allows us to interact with reality with "awareness, consciousness and knowledge of ourselves," regarded by the alchemists "female Trinity" forged by the three Goddesses (Kali / Juno), Lakshmi / Aphrodite, Saraswati / Athena, means expanding the power of the soul to manifest itself in the "Three Worlds".

Secrets of Alchemy are contained in the sexual dimension, emotional and aesthetic of the human experience. Sex and eros (Kali), love and beauty (Lakshmi), art and knowledge (Saraswati) can profoundly transform the 'individual (the ego of St. Joseph)) that identify the character waiver sexual, social, cultural and religious must be recognized that necessity and fate. The change announced by Art Alchemy (the Archangel Gabriel) the alchemist of the senses (the Virgin) takes place in three steps:

1. Alchemy of perception induced by the development of a sense of spiritual self (the Child of Bethlehem) and the seven bodily senses (muscular coordination, presence of mental, mental alertness, concentration, creativity, focus cognitive, meditative reflection, aesthetic contemplation) illuminated by the seven-pointed star leading the Magi bringing gifts to be able to expand the meaning of the bodily senses in mind.

2. Alchemy intuition that emerges from the manifestation of the sense of self (Epiphany) in social life (Child of the masses). Even in this case are not sufficient for the five senses, the mind can say truly understand the reality in which we live. The five senses of the mind (memory, visual decoding, logical intuition, subjective interpretation, rational understanding) remain "blind" actors intuition if the soul of the right hemisphere inhibits the ability to synthesize perceptions sensory and psychological insights in the tragic sense, aesthetic and spiritual consciousness that distinguish the Greek and Renaissance.

manifest psychic emotions of the soul, the feelings of consciousness and sensory perception intuitive intellect, the "Trinity Earth" which opens the door to transcendence, is learning the art of looking at the reality, to perceive the hidden truths and to know the Truth (Aletheia) obscured by the images and words projected by the libido.

Cultivating critical thinking (Aphrodite and Adonis), tragic (Meleager and Ariadne) and aesthetic (Ninfa Leda and Zeus) leads to understanding the dynamics and perverse games soppraffazione implemented by the men and women, and society as a whole. The knowledge of the game of consciousness represented in the plots of mythology, novels and film, has the effect of espendere the "timing" so you start to give advance notice (Cassandra) the eruption of libido in the consciousness that evolves from the powers of the soul. (See the film "Eight women and a mystery").

The "sense of time" often punctures the size of linear time, as the soul lives forever in the cyclical time, perceived as a harbinger of tragedy, drama and deja - vu that bring awareness to question the meaning of "true life ". E 'in this creative dimension of existence generated from the Art of Alchemic translate meanings in the images and meanings in symbols, emblems, metaphors and allegories, which the mind takes possession of the ability to use cognitive and creative faculties of both cerebral hemispheres (Castor and Pollux) in order to evolve Finally, in the sense of beauty (Helen of Troy) and in the moral-spiritual (Clitemnnestra) that characterize the higher qualities of Heroes / Artists.