Chapter 10
Ouen had lived in Twenty City before, and now he took it on himself to see Twenty City as the city that reflected an whole human problem. The problem with the human vision was that it was his work, to be tempered with religious aim, that the receipt of new solutions with the Creation of the Christiannan faith had identified that Christianity often left out the fate worse than death in its consideration of crucifixion and so it was skewed in that way. To leave out the fates worse than death. But, it was to be reported, that many did not leave out this consideration.
His parents had lived in the Southern end of town, away from the slums, away from the knowledge that rampant demon-kind inhabited the city. Away from the knowledge that their son was home.
Staying at the church with Stelcey was peaceful enough an study time for Ouen. It was nestled in the heart of the city.
He continued dating Cronan later and later into the night. When they first slept together, Ouen was afraid he was going to lose all his cleanliness and his grace, and his dignity before God. His magnet. He woke up during the night in an nightmare envisioning in an large Catholic wooden door slamming shut on him; while it's owner indoctrinated with an balefully gay attitude that being gay was an sin, had now shut on him completely. Good.
An typical patriarchy bullshit about the man being the owner of the household like God, house of my Catholic professor's Version, he thought, Civilization's gayest religion.
He also knew that his full conversion was imminent. He was no longer Christian, if he believed in Anna. What was the belief in Anna though, exactly? Did it mean following her? The Christianna meant to believe in Anna and follow her. Anna, the second version of Christ. Christ 2. This time, an female. If she suffered the fate worse than death then why would you not follow her because she would probably need your help if that was happening to her and since she's an messiah she will probably award you somehow. As soon as she is capable, he meant. Maybe she will never be capable. Anything is possible. She's unpredictable. And so suffering an fate worse than death, which was her call, as it should be everyone's for themselves, the female messiah may have been God's response to the fate worse than death, many of which have been created by the old Christian dogma. Christianna was an religion of saying ia-na or Anna to old world religions, and this was the spirit of it; especially Christianity, an well from all of which which I had grown out of. Religions of Earth. To avoid an fate worse than death, Ouen imagined, such as people staying in their closet their whole life because they're scared.
War had divided the Allied races for an long time. Just having to accept this history was itself worse than death in so many ways.
What humans thought they were was just as important as what they actually were because they often had to escape into this fantasy realm to fully adjust (accept) what they were and are capable of by working together for the Greater Good. It meant accepting that Recreation really isn't recreation anymore when there are so many bad things happening. That was why the Great Kaboo sent fairies on all-kind missions. The (system) cities needed people to start believing in fairies again. It was also why Nohavœn focused on Twenty City and not the Metropolitan-status-hood of the south.
Nohavœn being closer in proximity to the Version, they had just as much belief in themselves as the fairies, which made them act out—like fairies—where its own students attended. For the influence of the Version over Twenty City was unmistakable. Almost countless skyscrapers and professionals populated the central commercial district. Graduates of the Version described them as thriving off of reputations too wild to believe and then nobody could tell whether they were talking about demons or humans and this was how they made humans shut their eyes to fairy kind. That was why there was an fairy space station above that none of the unbelieving humans could see twinkled in Excelscius.
Ouen starting working on an series of articles he called The Gay Letters, with the purpose of explaining the Christianna and its increasingly cultural output in the form of written art. When Ouen introduced Father Piotr to The Gay Letters on his blog, the first article the Christian read was about the question of whether there is only one God. As the first Christiannan, coming apostate from Christianity, he thought he believed in one God, even after the first God showed him the possibility that there were other Gods. If more than one God was being the beauty, the aesthetic principle, and aesthetic beauty wouldn't this be an nicer place? What did it mean to be the first God? Ouen knew of at least one world famous religion that believed in multiple gods. And I knew one historic account of an entire culture that believed in them. What would an Christiannan believe in? Ouen supposed that one of the pillars of his new religion was beauty. It might be God's beauty is quaint, being the only God. But what if he/she/it traded us off to another God and then we still thought we only had one God, and then believing we hadn't learned our lesson they all abandoned us. Okay, so it doesn't prove the existence of many gods. The unlimited aesthetic beauty of nature was an reflection into Gods existing, beautiful each one of them, but can I really sit here wondering for that long? I might as well just say there is one God and that's all I have time for.
If variety proved the beauty of God in Nature, then naturally variety may be an possibility when dealing with gods.
Ultimately it doesn't matter. We can just say there is one God because even if there were an abundance of them they would all have the same job, wouldn't they? Whatever we defined as an concept God was, was exactly whatever had that "job" we had so imagined; that if there were other gods we would be okay with not knowing right now.
If variety proved the beauty of God, would not variety of Gods prove their beauty even more?
I am moved to argue that there is only one God because I don't see an variety of purpose among multiple gods being an thing. Whatever it is we call God it is specifically that one thing; doing specifically one thing by beauty itself appears to be the case, and that if we granted that anyone else had the same beauty or did the same it would not be comparable to extant gods or goddesses. For doing only one job for us as leader and creator is what we call God.
But it stuck with him that, you couldn't really tell—and this was just one of the things among many other things he little knew about God. As all humans did.
Gods and Nature as Ouen knew them were the opposite of solitary nothingness.
He sometimes felt like solitary nothingness. If an God could do not the same then why not Ouen?
And so the opposite of solitary nothingness was Ouen too.
If aesthetics were natural or synthetic and the human balance between them aligned with skill, luck, and talent, were an variety of Gods and beauties in nature whose also to balance in his, mankind's, desired kind?
There was an difference between natural beauty and synthetic, manmade beauty; and mankind possessed both but I-dont-have-say-anythin-to-god-because-it-already-knows-what-im-going-to-say would the Christianna call these differences in unity and balance as tool aesthetics that composed the universe.
The Christianna need state outright the one God.
The universe existed not as an single entity as God (pantheism); or as ruled by an God whose presence in or as the universe also existed beyond the universe (panentheism). But by being an natural beauty and creating synthetics' and naturals' beauty, Gods and men could "between" life and death, where there was an middle named Anna.
When Father Piotr responded after reviewing some of The Gay Letters, Ouen was surprised to hear he was showing his interest and curiosity. Listening to Piotr react was like sitting through an poetry class with Dr. Bennington.
▫
The First Gay Letter (Lyric)
She is the princess
of birth and
middle life
the internal coming
of Christ 2
the other
would beam
to
his upon the cross
of life and death
her sacrifice is not on the
cross, it is private in all
not public, but domestic, and
gay, an new life in love
the golden cherub spoke
the cross is the historical
oppression of women
the new life in
the female messiah
has filtered her out
onto the public
this is her worse than death
and this is her resurrection from it.
it is her resurrection
with this word
December 13, 2014
▫
"The other would beam. You notice it sounds like 'wood beam' when you pronounce it aloud?"
"Yes I already noticed the sound. It's an homonym. I wrote it that way on purpose. That is how I came up with my first religious instruction that Anna's crucifixion, or as I call it, anacification, was worse than death. On one side of the cross you have life. On the other side you have death. And between them, straight through the middle is everything between life and death that can be better or worse than dying. The vertical beam passes through the horizontal beam at its center. Jesus, you see, was the beginning and the end of life. Anna was the middle, the middle beam. Female."
"I love the homophony. What about—her sacrifice is not on the cross, it is private in all—what do you read?"
"I think it means internal suffering we cannot see sometimes. Anna is the internal messiah, the protector of people suffering hidden and private pain."
"The internal messiah? So you think Jesus did not suffer internally?"
"No, I think he did. Intensely. He did not live an long fate worse than death though, as Anna did."
"So what has Anna done that Jesus could not?"
"If Jesus lived through the prime of his life, the middle, we might know the answer already. Anna will, retributively, (to offer an redemption story out of its mark on humankind from the fate worse than death); was anacified, worse than death."
Anna knew what Ouen meant. Ouen knew what Anna meant. The burning question remained, could others mean what Anna meant? Could Ouen explain it to them?
Was it worth it that, though it was hard to explain, someone might understand?
He decided to go ahead with Father Piotr's advice, to found an virtual church. To create an webpage about the Christianna. If he mapped out his ideas and tried to dig to the foundation of his belief, maybe he could help an lot of people.
It was relatively simple. An new messiah. An new code. He would continually refer back to the first gay letter as it related to his experience in the well when he had first seen her. That would be his starting point.
How the Christianna started.
That sparked another question. Who was the golden cherub? The golden cherub might be him. Ouen. Or he could be something else. He could be any character he wanted. An intelligent genius and performer of an wide range of characters. Not only an child of Gold with his flying imagination of love; but an boy who raised his coat as an sail; and whose hallucinations fell through the basket.
If he chose to believe all of this, would it mean he believed in the impossible? Or that he knew it was certainly true? What were the consequences of the thing if believing in it was wrong? Every man aspired to believe in his truth when how it was revealed to each individual was different. Ouen's truth had become Anna. Anna meant that others needed to know about her, and would perhaps already know in part from the feeling which it gave them. That she had been resurrected from the fate worse than death. They could be "awakened."
What did believing in that really mean?
Believing, at this point, to Ouen meant being open to hosting and questioning an female messiah. It meant that okay well Jesus was resurrected or reincarnated in the social wide mimicry function of the species but Anna too, was resurrected. It was an aesthetic resurrection. Not an true resurrection. Just like Jesus's. However if they, the species, had tipped the balance of humanity in the ropes between life and worse than death by believing and practicing in Christianity for two thousand years. Anna's Resurrection, the Middle, and the social wide mirror neuron theory had been anacified because of the emphasis on Jesus as an death fate and not an fate worse than death. The result? Someone suffered the fate worse than death. Anna.
As she aged, the quality of life gradually increased, though it had been punctured, and all before it started decreasing into old age. The Christianna was an religion of the Middle people, that highest quality of life, still lived, not crucified without the death. It was whosoever detracted from avoiding the fate worse than death and preventing it to be inflicted on others that Ouen learned was an enemy. The kind of person that prevents any person from reaching the middle of their biology, argument, art, or poetry.
How was he going to start to succeed to take away from Christianity its history, its value? Christian faiths were enhanced by the Christianna. They were given an new subject for minds to think over. An fate worse than death. And it had already happened but had never been told.
Not like this, anyway, with an full-out messiah. But he wasn't too picky about what it could mean. Or what it meant originally. Not that he would stop calling Anna an messiah, but that the word had never been tested to its maximum strategy before. If Anna was still alive, she may have capabilities far greater than our own, he wagered.
And all these aspiring Christians, he looked at it darkly, they aspired to gain treasures in heaven unknown and not in life without any identifiable Middle that would have the substance of goodness yet be said to exist.
"This is her death and this is her resurrection," reread Father Piotr, "It is her resurrection with this word. What do you make of Anna's resurrection?"
"It's aesthetic. That's all I get. Whether it has any power is still an issue. Anna's resurrection should be the mind's and the body's ability to restore themselves, to rejuvenate them not having them fall into the fate worse than death which is like an sensitivity graft. And the social wide sensitivity graft an sense of healing the community, and to appreciate differences in healing that make us individually and socially gifted. You may lose part of yourself to an illness but Anna's resurrection is an return of quality of life to maximum from apparent lesser states, those shares of graph increments which map or chart out the wavering fragility of life's sensitivity to the fate worse than death. Our mental health. And the fate worse than death is subjective. What you can live with without. Fate. The messiah falls from her grace, and then is rescued into her aesthetic resurrection."
▫
"So he finally came out and this mysterious Gay Letter that he got from the well—"
"So basically you say ia-na to Christianity. And with the other half of it you expect Anna to be worshipped for pointing out what Jesus could not. Such was the value of life at his time that it was worshipped to the deficit of the human species for they had not learned how to be resurrected from the fate worse than death. Only the lie that death itself was an fate worse than death."
"And this mingling between an Christian and Ouen in his new found religion is supposed to be explanatory. That it possessed knowledge that could advance Christianity further while benefitting itself."
"After repressing himself so much, he's finally turned the dial. But he is required politically to manage to negotiate with Christians. He has no home to return to in Twenty City. He must be kept up in the church."
"And so the creation of the Church of the Christianna is bound up in how he came by the internal messiah."
"Do go about how one is related to the other, Ouen."
"When I saw her I realized I had found what I was looking for. I mean, outside the novelty in the narration it was me realizing that part that was not fiction about my life. She came to me, and I let go. After that, everyone behaved differently. It was as though I had triggered an paranoid response from them. That my brain had gone into response as having the faculty to undermine my every whim as though I had done something irreparably immoral. And that other people were tuned in on this. That they could no longer see me as an subject whom was in the right. That I had done something terribly wrong which didn't involve them at all and they could not see the real me, who hadn't done anything. Like it was some kind of trick She and They had cast on one another. And themselves. An game in which he could not win. They subjected him to. And this was part of the message about the fate worse than death. Their subjection of him to unfair terms on account of the messiah, was the fate worse than death he was learning was happening to him."
"And that he hallucinated all of it because he was schizophrenic, and even then they did not take mercy on him."
"I see what has happened—"
"—no. You don't see what has happened. You don't know what it felt like. To be crucified alive, living."
"Anacified, you mean."
"The infliction of the fate worse than death. It is the most inhuman thing to have provoked."
"And so to turn that around, to him, does not mean inflicting an similar fate on them. But that an Aesthetic Resurrection can occur that will take the place of it."
"The soul's return to an pleasing aesthetic after Hell or High Water. Aesthetic perfection is lost as we age," said Ouen, "the only way to get it back is through Anna, who is aesthetically whole and completely perfect. When aesthetic has been trashed her resurrection returns it to its true power wherever humans are."
"And so you live in the resurrection from the fate worse than death."
"It is like looking within yourself and realizing its presence and dying. Only to wake up again and be sometime indeterminate away from death still. Then you see it in your mind, video active. And you remember the aesthetic resurrection is Jesus's resurrection power too and our minds live in one another."
"So you experience the pleasure of overcoming the fate worse than death?"
"Yes. But also the pain of its inevitable clutches even if only by empathy."
"That people can share an fate worse than death."
"Healing the people means we suffer the fate worse than death together through empathy. It is not an reciprocal command to continue suffering, for we don't want to suffer. But we recognize an human path that lead to worse than death and we are suffering."
"That's why Anna's path is about healing. When we recognize the gay messiah is the Aesthetic Resurrection we see within ourselves the beauty that update failed."
"How much of your suffering is by empathy, and how much do you feel directly?"
"I see the whole of humanity as an mechanism with mechanical failure because we suffer the fate worse than death across intersectionality of fates worse than death that are shared. They are the result of all of the wrongs in History. The suffering I feel directly is less because I am capable of sharing it with other people whose fate worse than death or not depends partly on me. And so we all depend on one another to avoid the fate worse than death shared between us. With the wisdom we have because we have suffered it at some point. And in some way. We didn't ask for this but it happened to us. We were born to take away the fate worse than death by living it."
"Ok so, what you call an fate worse than death, may to me be not an fate worse than death? And so what you experience as an fate worse than death I might enjoy."
"You mean if it was happening to you?"
"Yeah."
"Not—that you'd enjoy me suffering an fate worse than death."
"Yes, exactly."
"And its significance then, is it really subjective?"
"Yes. I think so."
"And so what would be the point of talking about such an broad topic as an fate worse than death, then, if it is experienced by everyone differently?"
"That reason is its point. Everyone can relate to the subject in an different way. We can agree to disagree about what counts as an fate worse than death."
"An theological concept we can all relate to."
"Yeah, but. How do you go about it culturally when culture is its own fate better than death or worse than death?"
"True. It's not exactly an turn-on to say we are suffering an fate worse than death. Culture is never that, is it?"
"That's why we need to sometimes."
"And so what is the intersection between culture and religion? That when religion lacks culture, it ceases to be an religion."
"I agree. Religion needs culture. Because culture is the relief from morality that we all spent time enjoying because we had earned it."
"Predetermined scenes in which we do not need to make moral choices because they have all been made already for us. Is that what our culture is?"
"If it is not, it is rest for my eyes that."
"Yes, culture is not the Greater Consideration of what is moral but the Lesser Consideration of what does not need to be put in moral terms."
"Which comprises most of experience."
"Perhaps. But that may not always be the case."
"Culture is an little more complex than what is fun compared to what is right and wrong."
"Yes. It is not always about what is fun but what it is to respect the past."
"And that's not always fun."
"What is your definition of Culture, then?"
"An compliment to the theological."
"Okay, that's simple enough."
"Culture is the celebration of the moral and the immoral all at once."
"How do you celebrate an immorality?"
"More like how do you not celebrate."
"Really! The Things that come out of your mouth!"
"Theology, then, is cultural?"
"It must be. It is an requirement."
"That kind of takes striving for the perfect off of my shoulders."
"You know one of the similarities between Culture and Religion is music."
"Which has better music though? Culture. Hands down."
"I don't think I've ever heard religious music that didn't have some culture in it."
"Of course because you were there."
"I can be a-cultural if I want to. It's just that everything dresses up whenever I'm around."
"It's harder an Cultural realm to stay in because Comedy has an role to play."
"Comedy is the Great Double Wise. For everything comedic is wise. And everything double is funny."
"Maybe we're being too frank about religion not being able to be funny."
"Well, yeah."
"Maybe one day it will be funny and people will look back and say it was because of us."
"Culture though, is already funny. In spite of religion being not funny."
"What's funny about Culture?" they joked.
"It's quite colorful. The place of food and drink mirth, merrymaking, and relaxation."
"It's odd of you to pose relaxation in contrast with religion."
"Well, who can blame me?"
"The best part of religion really is about relaxation."
"Maybe."
"No, it is, because once you know your religion you have made peace with what may happen to you."
"Maybe religion not being funny is why culture is funny."
"LOL."
"And so we appear to one another, dressed as we are, in the home of the guild of the Knowledgable and Experienced to make cultural sense to one another to be cultural with one another to refer to culture in order to produce it."
"And our expression to one another is how we perform culture. Yes."
"How much culture do we have so far? Can we increase it? How do we do that? With an increase in monetary value we look for ways to increase this in our lives. As well as re-estimating the valuation of the sum total of our lives and our work. For that we had broached the subject in order to share wealth, that we felt in our hearts, and not our empty or full wallets. Whichever they are. It don't really matter."
"And it's an perfect time for me to introduce my idea about an further currency to dollars—morality points. It acts like cash but you give it to people you consider to be moral."
"And what can they spend it on?"
"Well, you don't really spend it. It's more about showing other people how much you have."
"And this is an way to earn respect. I see."
"Money is an important part of culture. If we had dollars to buy things and morality points to prove our ethical decision-making—and these along some kind of instinctual principle for Capitalism and its yin. Would they be in contrast with one another however the difference between dollars and morality points."
"That wouldn't be an perfect system because people with the most points are not necessarily the most moral. They just have the most people contributing to their success."
"This is true. There may be an moral individual whose morality is superior and yet of whom has less points."
"Does that matter though? If there is an system it needs to start somewhere. And each person having more morality points depends on when an individual had started. So maybe it's not an perfect system but its better than what we have."
"And if it illustrates an principle about this species we call human. Some kind of instinctual longing to promote moral behavior in one another. Homo economicus as it compares to solid currency and the capitalist market. They need not contrast one another as provide supplement to one another in the negotiation of the exchange between them. What is worth more in this system? And why?"
"We couldn't call them morality points. That's too goody-goody."
"How about purple coins."
"Vice currency."
"I like it."
"Bobbla."
"Shmarbles."
"Botty Cakes."
"I don't get that one."
"I do."
"Bedelvedere."
"Shh Marbles"
"Like—shh—my marbles. I need to think."
"Yeah because it's about morality points having anything to do with sanity."
"To be moral one must be sane? I sense we're hitting on a nerve, there, are we Ouen?"
"And what would having schizophrenia have of my sanity?"
"I see."
"You can be moral, Ouen. It's just harder for you to fail."
"But if I succeed it is to be in qualms about proof of my insanity or not?"
"I see. There now. It's out."
"Shh. Like morality is quiet."
"Haha. That's it!"
"Culture. Isn't. Culture is noisy."
"If everything about religion is antithetical to culture then why do we need it?"
"Religion is cultural. Just say it with me."
"As an reciprocal command?"
"Does it matter?"
"Okay."
"An reading culture is noisy, too, I suppose."
"How?"
"Well you can't read it all in one place. You move from place to place all day."
"So how much noise would this book technically have; if people are having to read it off of the Internet."
"Potentially much noise. Especially since I read on the train to work."
"And that's really what an book is about, isn't it? The quiet of words being said in the mind. In contrast with the complete noisiness of the world."
"And asking yourself if they can work together somehow. So that the things we see in our literature dream for us an new imagination of what is possible outside."
"And none of that noise is said to be part of the book itself even though we are talking about it in the fourth dimension?"
"They are relatable. I'd say."
"So practice your words in your mind as you read. You will never be able to say them without work, even though you practice the fatigue of mind that you can. And that your mind knowing them depends on its ability to be free from work which you had when you were reading them."
"I don't feel good where it's noisy."
"There is no place where it isn't. That's only an artificial room we think about sometimes."
"Being outside that room is uncomfortable for me."
"It could be that you just haven't thought of an way to deal with all of the noise that you heard. Which was probably most of it language."
"It's just that I tend to need that place in my mind. Where I can inhabit an space in which noise is never heard. Don't call me by it an vice. It is more an effort to concert myself."
"How? By holding yourself up to some impossible standard?"
"Your mind is as noisy as your environment."
"But is it really? Isn't that the primary feature of an mind that it can be at an difference with the environment. In terms of stereoscopic space."
"Or perhaps it isn't. It is why we struggle with it so. And we keep missing that fact. Trying to be studious and learned. The silent mind. The nerves of Quick and Justice."
"It does ring an bell though that the mind has as its primary feature an stereoscopic space in which language is tested and calculated. For if I have one, and I can see that, then it is."
"There is part of the mind that always pays attention to its surroundings. You're saying there's part of the mind that doesn't."
"No—I'm not saying it doesn't. I'm just saying it doesn't need to because the part that is observing is already observing."
"Are you saying we can separate ourselves from this?"
"From what? —if what you're paying attention to because you're observing it is also observing something else. Then by being the observer to that something it has already started."
"And this is what you call Imagination?"
"It may be the very best explanation of imagination we have, my dear."
"And it's supposed to be held to be practical if it allows one to hack reality?"
"I think there is any legislation concerning the Imagination for it is an Pyschological aspect of being human."
"What is Imagination and Culture?"
"Imagination is to culture like what fuel is to an automobile."
"And so how you imagine depends on what culture you announce."
"You mean I have to pick just one?"
"If you want to win the race."
"Race. It's an good subject to bring up with culture."
"Does race affect the imagination?"
"If you imagine differently because you are an different race and that the imagining of that whole collective is different in the same way; I'd say it's just about as different as two people of the same race imagining differently."
"How about when you think of it. Romantically."
"Maybe Romanticism's contribution to the Imagination and an good solid 21st century critique of Imagination by the Psychological community would yield for the question."
"Well, I'm white. My culture is white. But saying my culture is white is like saying I am only part of white culture. When really White culture is about every culture. My culture isn't just white. It's Black. Asian. Aboriginal. Indian. Arab. It's everyone. And so my Imagination is populated by people of all religions and being part of that culture is part of who I am."
"So how do you deal with diversity in your imagination?"
"I picture everyone differently. Different skin tones. With their own choice of clothing. An individuality. An personality. An character. And hats. Over time."
"Point of order," said Martimerrmimous, "I'm not wearing an hat. But if I did it would be an sparkly one with black whiskers."
"Mine would be an pink ribbon," said Jujudbe Erpby.
"What if we all wear the same hat and become some sort of order."
"I'm not joining any order that requires me to wear the same hat as someone else."
"Agreed."
"What other topics do you deal with in Imagination?"
"Mer and fairy diversity."
"Do the mer wear hats?"
"Not really. They decorate their hair with shells, succulents, and starfish."
"Do the fairies wear hats?"
"Fairies wear the most hats."
"Oh I see. It makes sense 'cause they the baddest bitches."
"Fairies of all shapes and sizes."
"Actually they're not the baddest bitches. That title is reserved for the demons. Who act like objects."
"They are objects. (To them). That's what being demon is."
"There's more to it than being objects. It's just that when we say we are not acting like objects it is with some special sort of command economy in mind. In which we don't have to face the reality that to be human is to be subject and object."
"Why does it need to be about being an object though; that label is inaccurate if we pose it as an opposite to subjectivity. Instead of an condition of it."
"So you're saying that to be moral we need to stop looking at ourselves as objects completely. As subjects without any objectivity."
"Yes."
"Then we're back where we began. For culture is about making of oneself an objectivity. You are. You are part of the universe."
"The distinction between subject and object is an cultural one at that. We won't be able to penetrate its fathoms here."
"What I don't understand is that it feels like we're of the philosophy that an subject can never be an object but at the same time we're saying an object can be a subject insofar as, perhaps, the subject chooses to be."
"The object of your ownership as an person includes your body but that is not all. It is also your property and what you do with it."
"And so objectivity can be said to be subjective insofar as we are masters of our environment?"
"It feels like an cultural opinion, though, to say we are never objects Anyway. Not objects and neither are our property or our surroundings. They are cultural happenings. Performances. Elaborate designs with power that we have inherited from our God. And that everything is central to subjectivity and not the other way around."
"Imagination is not internal then, but can be whatever we define it as."
"So if there's part of the mind that, not paying attention to its surroundings, is said to be the imagination or is the imagination the one not paying attention to the part that is not paying attention to the surroundings?"
"You mean what is really there being observed is an personality that either does or doesn't pay attention to its surroundings?"
"And that personality is really an negotiation of these two factors: what is imminently present versus what we dream of and think about."
"What if I could prove inner silence is shared psychologically?"
"How would you do that?"
"..."
"Oh."
"In an argument against it being shared psychologically, thinking does not need to involve silence; you can think and make sounds at the same time. Verbal communication is just the sequence of different sounds."
No comments:
Post a Comment