Before reading, you must have read the premise, but also arm themselves with holy patience, because surgery is very long. So if you are tired left perdere.
"Non ritengo che un fallimento sia necessariamente una cosa negativa. Ti dà piuttosto quel certo grado di libertà che ti permette di dire: «'sti cazzi!»"
(Billy Corgan; sticazzi = Fattelapiabbene = Machemmefrega!)
E mi immagino una intera vita col sorriso in volto e sticazzi stampato in fronte. Ecco il potere del ridere. Non il folle riso del Joker che si contrappone allo scuro volto serioso di Batman.
Joker e Batman, il folle e la morte, entrambe figure archetipe del nostro inconscio, nonchè carte dei tarocchi (lascio agli esperti l'interpretazione del significato).
DEATH The paper shows a skeleton with some bits of flesh still attached to the bone (indicating that the transformation has not yet started).
With the scythe in his hand the death crowned heads and cut (to indicate that anyone is subject to it).
sprouting hands and feet from the ground (indicating that the ideas never die). Nothing is destroyed and everything changes.
The scythe has this form) or the smile of the insane ...
THE FOOL "... but one who in the middle of the road lost the straight way by greed, meanness
and new materials are also found to inhabit the chaos from which he started. But as a bolt from the blue, he is revealed the way for a new beginning ... "
card shows the figure of a wild wanderer with a stick in his hand which, however, does not know what to do (to indicate that it has, however, in itself the power , the force, but has lost or forgotten the mechanisms for Jupiter).
brings a lot on the shoulders tied to a stick is a useless burden (to show us the illusion that human beings do not lead to nothing).
There is, then, that bites the mad lynx in the lower (indicating that we are no longer able to control the instincts and we're back to the starting point).
The plants growing in the figure, however, suggests the cyclical nature of the route, and hence most comforting of the Laws that govern the elements, actions and their interaction in the process of lifting the beginning: there is no error can be repaired, there is no bottom in the well of opportunity. The hope for the ultimate prize, the ultimate aspiration for knowledge will never abandon our deepest intimate.
madness and death, cycles and change. only one can detect and recognize the other because both show the same false reality. Both of the other owners with which they play a dance macabre
The Seventh Seal, only the mad jester can recognize the death and be free, ready to dance a dance macabre
Jöns Dialogue between the squire and the painter.
- What do you paint?
- The dance of death
- And that is death?
- Yes, before or after dancing with all
- What a sad topic you chose ...
- I want to remind people that everyone must die
- It will not cheer ...
- Who said I'm going to cheer up people? That look and weep.
- Aaah, instead of watching close your eyes ...
- And I tell them open ... A skull, often much more interested in a woman's naked
- If you make them afraid but ...
- Li ... do you think
- And if you think ...
- ... scared even more.
The skull, symbol of death, moreover, is nothing but a grin 32 teeth
The secret is how to die. The beginning of time, the secret has always been how to die. The adept stared at the thirty-four human skull cradled in his hands. It was hollow, like a cup full of wine rossosangue. Drink it, he said. You have nothing to fear
(The beginning of the prologue of "The Lost Symbol" Brown)
Ah, let us not forget "Indiana Jones and the Crystal Skull"
But talk of a second death or tumbadora (from the name that was given by the Toltec seers, as a "rotating force)
According to Toltec shamans, death, or rather its thrust, is there behind your left shoulder (often see in the rearview mirror, eyes like the headlights of who is overtaking).
- The next quotes come directly from "Theology of Liberation - The Razor's Edge" -
"Ihoah'aDaM the model (in the sense of humanity), endows it with a soul (the'aiSHaH, namely the female ego, which embodies the impulse toward knowledge) and pushes it through this, to feed the sacred fungus. Ihoah moved in this, an obscure awareness that it can not forever resist the force of his own death and, therefore, the need (at this beginning felt almost exclusively instinctive) indefinitely to increase their awareness through the absorption awareness distilled dall''aDaM. But if
Ihoah'aDaM the model in this way, this means that Abraxas models a part of Himself in the form of 'adam. And it is in this form of massive (quasi-infinite) be conscious that we know it.
Yeah, because after ingestion of the forbidden fruit, as well all''aDaM, Abraxas begins to exist in a conscious way, because Sibaldi note beautifully, Ihoah sull''aDaM has lost all authority. In fact, I would add, at the very moment when Ihoah conceived the idea of \u200b\u200busing dell''aDaM to solve the problem of its divine and immense anguish was sentenced to a progressive transformation in the fatal Abraxas. So now he has two faces. The first invisible noumenal, and the other visible, phenomenal.
Food Processing over time from the knowledge generated dall''aDaM which lasted for seven eons (roughly, fourteen thousand years) and now come to fruition.
This means that the demiurge Ihoah still exists in the form of God is less (than the Elohim or the Gnostic PrePadre of memory), and in that of Trogoautoegocrat. This is why from now on we will call the Tyrant: Ihoah-Abraxas.
Terrible, I know. It 's a real chance that the truth always has two sides ... yes, the truth is double, a bit' as the God of which we have just spoken. "
...
"The man, then and in that respect, it seems more like the outcome of evolution Ihoah-Abraxas has lived in it since the beginning, since it is from that fabulous start to the forces of death has taken to press upon Him
E 'precisely the deeper meaning of what, at the opening, we called the Supernal Triad (Death, Life, Awareness). This triad is born with the creature and is the foundation of the mechanical nature of the entire universe . It 's the way to be more profound and real-Ihoah of Abraxas, rather, of her face visible, "Death" out (active force) and "Life" in (force passive) so that the friction of these two forces is born "Awareness" (neutralizing force). "
...
The best technique to achieve all the above in terms of Stalking is the laugh warrior.
We have stated that when the warrior is accepted for him begins the war and that war is marked and characterized by the coming of a very long series of eighth place, in terms of hardness, in ascending progression and send him to the Spirit to make it perfect (pure and powerful as the first of two lilies).
Now, while any one eighth invests the warrior, in absolute terms these si trova a diretto contatto con la Morte e ciò scatena la sua paura. Una paura che sgorga direttamente dal centro emozionale e che, tramite un processo meccanico e tremendamente veloce, si trasforma in ciò che Gurdjieff chiamava emozione negativa.
Divenire preda di tali emozioni negative è fatto tanto repentino, quanto inevitabile.
Questo accade perché il centro emozionale lavora ad una velocità molto superiore a quella del centro intellettuale; ne consegue che per noi, almeno all’inizio e per diverso tempo, risulta impossibile controllare tali emozioni. Siamo troppo lenti.
Praticare l’Agguato significa rendere il centro intellettuale tanto veloce e tanto fluido da riuscire a controllare il centro emozionale, rendendo in tal modo possibile il vero “miracolo”: la trasformazione delle emozioni negative in emozioni positive.
Questo si può fare solo cercando di ridere ogniqualvolta le emozioni negative si manifestano. Si tratta di una tecnica che va messa in atto da subito, anche se all’inizio e per chissà quanto tempo, sembrerà impossibile da realizzare.
Quando angoscia e paura erompono in voi per effetto della pressione esterna o interna, ciò che dovete cercare di fare è proprio e solo questo: ridere.
Ciò richiede quel che chiamiamo un enorme sforzo consapevole giacché, per riuscire a ridere quando we are under the fire of death, we must remind ourselves and the objective we set ourselves.
why difficult situations are so important, because they put us in a position to remind us of ourselves.
Laughing in the face of death when it is pressing on us because it leads us to enlightenment, this simple act has the effect of preventing the use of indulgence. In other words, laughter prevents us from wasting our energy, thereby increasing and with it coming through the destruction (Solve) and the subsequent recreation (clots) of the Golem, first at achieving the status of a Man # 4 ( the abolition of the so-called band man) and, therefore, the conquest of the higher levels of achievement.
Until the supreme realization: Total Freedom.
Conclusion ...
DON JUAN:
'E' can insist, insist so convenient, even though we know that what we are doing is useless, "he said, smiling. "But we need to know first and foremost that our actions are useless, and yet if we do not know it. This is the shaman's controlled folly. (...)
I'm glad you at the end, I have asked my controlled folly after so many years, and However, I do not have cared if you had asked me. But I chose to be happy, as if it were important that you have asked me, as if it was important that we take. That is controlled folly! "
both laughed and hugged him very strong. It's wonderful to her explanation, even if you do not understand at all. (...)
CARLOS CASTANEDA:
"Who armies controlled folly, Don Juan?" I asked after a long silence.
giggled.
DON JUAN:
"With all," said smiling.
CARLOS CASTANEDA:
"Then, when you choose to put it into practice?"
DON JUAN:
"Every single time I act."
At that point I felt that I needed to summarize and I asked him if controlled folly meant that his actions were never sincere, but they were only acts of an actor.
DON JUAN:
"My actions are sincere," he said, "but they are only acts of an actor."
CARLOS CASTANEDA:
"So everything you do must be controlled insanity , "exclaimed genuinely surprised.
DON JUAN:
"Yes, everything," he said.
CARLOS CASTANEDA:
"But it can not be true," I protested, "that your every action is only controlled folly."
DON JUAN:
"Why not?" Replied with a mysterious expression.
CARLOS CASTANEDA:
"This would be to assert your indifference to everything and everyone. Take me, for example. You mean you are not interested in whether or not I become a man of knowledge, or if I live or die, or do anything? "
DON JUAN:
"True! I do not care. You're like Lucio, Alro or anyone in my life, my controlled folly. "
I felt a strange feeling of emptiness. Obviously there was no earthly reason why Don Juan would have me at heart, but on the other hand, I was almost certain that cared for me personally, I thought it could not be otherwise, because I had always taken great care in every moment spent together. I began to suspect that perhaps don Juan said those things just because he was annoyed with me. After all, I had abandoned its teachings.
CARLOS CASTANEDA:
"I have the impression that we are talking about the same thing, "I said. "I should not have to use myself as an example. I meant that there must be something you care about the world in a different way of controlled folly. I do not think it's formulation can continue to live if there is nothing that really counts for us. "
DON JUAN:
" This is true for you, "he said. "These things matter to you. You asked me of my folly I've checked and said that everything I do for myself and my fellow men is folly, because nothing is important. "
CARLOS CASTANEDA:
" The point is, Don Juan: how can you continue to live if there is nulla di cui ti importi? ... Voglio veramente sapere; devi spiegarmi cosa intendi dire.»
DON JUAN:
«Forse non è possibile» rispose. «Alcune cose nella tua esistenza ti interessano perché sono fondamentali; le tue azioni sono sicuramente importanti per te, ma per me non c'è più neppure una singola cosa che sia rilevante, né i miei atti né quelli dei miei simili. Continuo a vivere, tuttavia, perché ho il mio intento, perché l'ho temprato per tutta la vita finché è diventato chiaro e integro e ora non m'interessa che alcunché conti per me. Il mio intento controlla la follia della mia esistenza. (...)
Quando un uomo ha imparato a vedere, si trova solo al mondo, con nient'altro se non la follia. ... I tuoi atti, come quelli dei tuoi simili in generale, ti sembrano importanti perché hai imparato a pensare che lo siano. (...)
Non ho detto senza valore, ho detto non importante. Per esempio, per me non c'è modo di dire che i miei atti siano più importanti dei tuoi, o che una cosa sia più necessaria di un'altra, perciò tutte le cose sono uguali ed essendo uguali non sono importanti.»
Gli chiesi se intendesse dichiarare che ciò che aveva chiamato "vedere" era in effetti un "modo migliore" del mero "guardare alle cose". Rispose che gli occhi degli uomini possono svolgere entrambe le funzioni; l'una non è migliore dell'altra, ma addestrare i propri occhi solamente a guardare era, a suo parere, una rinuncia inutile e disonorevole.
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