The Lighting of my Fire

Dominque Appia's Le Palais

I wrote about my Grandfather in (Dominique Appia…).  He and his paintings have strongly influenced how I see.  They have been like seeds of meaning, and are in all stages of development, from seed, to sapling, to fruiting, to withering.  Not to say that I am completely encompassed by his paintings (I would hope).  They point to the world outside themselves (moreover, they have always been part of the world).  (Can there be a biosphere (disconnected from the outside)?  Are not biospheres equivalent to living bodies with flatlined brains being kept alive by machines for years?  Or museums?  Useful in their way, of course.)

I have looked at his paintings my whole life, and honestly, until the last 5 years, I never thought about what they meant.  And even now, the connections between my representations of his paintings and linguistic expression is tenuous.  I always looked at them openly, without judgement or analysis, like a child learning to speak as a natural way of coming to terms with his environment.  But it wasn’t painting or drawing that I picked up.

It was wizardry.  Which is really psychological in nature.  Consider that, since the mind and body are one (an axiom of mine [this is a crude expression of: consciousness is directly coexistant with the energy and structure of the body {complementarity of structure and function, which is the principle that function is dependent on structure and that the form of a structure relates to its function <our bodies distill ever finer resonances, which explode in through out our living being _consider yoga_>}]), psychological efficacy (value [motivation {will}]) translates through the body into real world efficacy.  But I’m not talking about the magic of the engineers.  Nor that of politicians.  I’m speaking of the magic of life (which is both organic and inorganic, energetic and material), which includes the others, but in a wholistic glance.

Jung‘s mysterium coniunctionis in play.  Jung’s insight, so far as I’ve penetrated, is that what alchemy meant to the Self in psychological terms was actually the driving force behind the research, not what both presently and also historically was popularly considered to be the purpose, namely, becoming rich or enriching lords through transforming lead into gold, or becoming immortal, or whatever.  What really happened, IOW, was matter became a rorschach medium (like dreams).  Chemistry, so little understood at that time, was prime real estate for psychological projections, what, with all those amazing transformations of malleable forms (and also, I imagine, the poor handling of all sorts of exotic [in-]organic material, probably led to more than a few cases of loosened or poisoned minds, amenable to plastic association).  He’s also saying that it is a natural tendency of our psychology to attempt to unite the opposites, but also to see in terms of opposites (that then need uniting).

What?  Does my clarity shimmer between depth and inscrutability?  Dig it (with the shovel of your mind): how do you get inanimate parts to animate?  3 to 1, 3 parts in agreement and one part in conflict.  This’ll stir things up, get the dynamo turning, start the whirlpool whirling, set the AI self-inventing (1) itself (mutating?) past its representations of its limitations (3-a) in relation to the immensity of its representations of the world out there (3-b) in relation to its greatest maintainable representation of self (3-c).  At least, that’s the spirit of Europe.  Maybe China’d try 1 to 1 with their yin and yang.  The proportions of the two may not matter much to the basic enterprise of animation.

The key, if you will, is to have a lock.  Something to turn you in turn.

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