Eternalised

Projection is a psychological fact that can be observed everywhere in  the everyday life of human beings. It is an unconscious mechanism where  one ascribes one’s own motivations, thoughts, feelings, and desires that  are unacceptable to oneself, while attributing them to others. It is a  misalignment of the inner and outer world, because what one is inwardly,  one will see outwardly.  

To really know who we are, we must concern ourselves with correcting  such misjudgements. Many people will cling to them with every fibre of  their being, because if one accepts correction, one may fall into a  depression.  

When we find certain unacceptable feelings, thoughts or behaviours in  ourselves that we refuse to acknowledge, and see someone with that  specific trait, we will feel resentment, hatred and anger towards them.  Projection occurs not because of what other people say to you, but  rather because of what you yourself think about those people.

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⌛ Timestamps

(0:00) Introduction

(2:15) Example of Projection

(6:37) Freud: Mother Complex and Transference

(8:06) Carl Jung on Projection

(9:33) Jung: Shadow Projection

(12:52) Jung: Anima and Animus Projection

(16:18) Projection and Projectile

(19:11) Active and passive projection

(20:54) Introjection

(21:42) Mystical participation

(25:36) Psychological Projection as Inner Gold

Synchronicity is a term coined by Carl Jung which describes a meaningful patterns or meaningful coincidences of outer and inner events that cannot be causally linked. It occurs with an inwardly perceived event (dream, vision, premonition, thought or mood) is seen to have a correspondence in external reality: the inner image has "come true", bringing meaning to your life.

When Jung was investigating the phenomena of the collective unconscious, he kept on coming across “coincidences” that were connected so meaningfully, that they broke all statistical probabilities. The culmination of his investigations is covered in his work: Synchronicity: An Acausal Connecting Principle.

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⌛ Timestamps

(0:00) Introduction

(4:50) Origins of Synchronicity

(8:38) What is Synchronicity?

(10:09) Atom and Archetype: Matter and Psyche

(11:43) Rhine: Extrasensory Perception Experiments

(13:00) Archetypes, Collective Unconscious, Psychoid

(15:54) Examples of Synchronicity

(26:16) Synchronicity at Jung’s death

Active imagination is a technique developed by the Swiss psychologist and psychiatrist Carl Jung. He considered it the most powerful tool to access the unconscious and for achieving wholeness of personality.    

Jung discovered this method between the years of 1913 and 1916, a period of disorientation and intense inner turmoil which he called his confrontation with the unconscious. He searched for a method to heal himself from within, through the power of the imagination.   

Active imagination is a dialogue with different parts of yourself that live in the unconscious. In some way it is similar to dreaming, except that you are fully awake and conscious during the experience.   

If we honestly want to find our own wholeness, to live our individual fate as fully as possible; if we truly want to abolish illusion on principle and find the truth of our own being, however little we like to be the way we are, then there is nothing that can help us so much in our endeavour as active imagination.

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⌛ Timestamps

0:00 Introduction

2:02 Confrontation with the Unconscious & The Red Book

4:46 Alchemy and Jung

5:39 Approaching Active Imagination

6:56 Precaution Before Starting Active Imagination

7:46 Inner Work: Active Imagination

9:21 Distinguishing Active Imagination from Passive Fantasy

9:51 Active Imagination Example: Talking with the Inner Artist

11:51 When You Think You’re Making Up Something

13:01 Active Imagination as Mythic Journey

14:10 The Four-Step Approach to Active Imagination

16:25 Step 1. Active Imagination: The Invitation

20:50 Step 2. Active Imagination: The Dialogue

25:00 Step 3. Active Imagination: The Values

27:25 Step 4. Active Imagination: The Rituals

In his book Owning Your Own Shadow: The Dark Side of the Psyche, American author and Jungian analyst Robert A. Johnson states that to honour and accept one’s own shadow is a profound spiritual discipline. It is whole-making and thus holy and the most important experience of a lifetime.  

In this episode, we briefly clear up some misconceptions regarding the concept of shadow. It is not our enemy, but our friend. It contains pure gold waiting to be integrated into our personality.

It is not the light element alone that does the healing; the place where light and dark begin to touch is the most profound religious experience we can have in life. The religious task is to restore the wholeness of personality. Religion means to put things back together again, to connect whatever is fractured.

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⌛ Timestamps

(0:00) Introduction

(3:12) Misconceptions of the Shadow

(5:20) How the Shadow Originates

(8:35) Balancing Culture and Shadow

(12:39) The Shadow in Projection

(15:04) The Gold in the Shadow

(16:38) The Shadow in Middle Age

(16:59) The Ceremonial World

(17:46) Paradox as Religious Experience

(21:54) The Shadow as Entree to Paradox

(23:02) The Mandorla

William Blake was an English poet and visionary artist whose unique work gives us a glimpse into an entirely different world. His art was ignored and neglected, and few people took his work seriously. He was generally seen as a madman.  

His vivid imagination, visions and mystical experiences lead him to a spiritual task that was the exploration of his inner self. For Blake, the essence of human existence is imagination.

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⌛ Timestamps

(0:00) The Life of William Blake

(13:16) The Lyrical Poems of William Blake

(15:48) Prophetic Books & Mythology

(21:35) 1. The Ancient of Days (1794)

(22:38) 2. Albion Rose (1794 – 1796)

(23:37) 3. Isaac Newton (1795 – 1805)

(24:23) 4. Nebuchadnezzar (1795 – 1805)

(25:39) 5. The Night of Enitharmon's Joy (1795)

(26:31) 6. Satan Exulting over Eve (1795)

(27:00) 7. The Good and Evil Angels (1795 – 1805)

(28:13) 8. The Angel of Revelation (1803 – 1805)

(28:36) 9. Los Enters the Door of Death (1804-1820)

(29:35) 10. The Great Red Dragon Paintings (1805 – 1810)

(31:20) 11. The Man Who Taught Blake Painting in his Dreams (1819 – 1820)

(31:44) 12. The Ghost of a Flea (1819 – 1820)

(32:58) 13. Elisha In The Chamber On The Wall (1820)

(33:30) 14. The Spectre over Los (1821)

(34:38) 15. The Inscription over the Gate (1824 - 1827)

(36:18) 16. Behemoth and Leviathan (1825)

(36:41) How Blake's Art Can Help Us

Arthur Schopenhauer was a German Philosopher born in 1788 known for his dark pessimistic philosophical reflections.

For Schopenhauer, the underlying force of reality is the Will (also called will to live or will to life), which is the essence of existence. It is an unconscious and blind desire that restlessly strives for more activity. The will is the tornado that swirls inside of us and throws us from one place to the other, it is the source of our insatiable appetite that results in strife and misery.  

Schopenhauer’s writing is far from the sterile and academic German of the time, his work is straight-forward, colloquial, concrete, full of metaphors and anecdotes. His philosophy sent him on a quest for tranquility and peace of mind. He offers as alternatives the denial of the will, the wisdom of life through philosophy, aesthetics and ethics.

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▶ Parerga and Paralipomena (Essays and Aphorisms)

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▶ On the Suffering of the World

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⌛ Timestamps

(0:00) Introduction: Arthur Schopenhauer

(7:47) The World as Will and Representation

(15:07) The Will to Reproduce

(16:36) The World as Evil

(22:52) The Denial of the Will

(25:11) Philosophy: The Wisdom of Life

(27:32) Aesthetics

(30:45) Ethics

Nothingness is generally considered to be analogous with death and extinction which every healthy living instinct wants to avoid. Many find the notion of nothingness unfathomable.   

Japanese philosopher Keiji Nishitani, however, was convinced that the way out of nihilism, that which renders meaningless the meaning of life, could only be reached by gazing into the abyss itself.   

Nishitani understands human existence as consisting in three fields: consciousness, nihility and emptiness. Nihility is as part of the fabric of reality as Being is, it is relative nothingness, and emptiness is absolute nothingness, where the “absolute negation” as the negation of negation becomes the “great affirmation”.   

In the openness of śūnyatā realised by nihility overcoming itself, one completely oversteps the confines of self-consciousness and comes to be free of egocentrism, anthropocentrism and even theocentrism, thus allowing ultimate reality to manifest itself in all its fullness.  

We will be focusing on two important works of Nishitani: The Self-Overcoming of Nihilism and Religion and Nothingness.

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⌛ Timestamps

(0:00) Introduction: Keiji Nishitani

(4:24) The Self-Overcoming of Nihilism

(8:12) Religion and Nothingness

(14:36) Consciousness, Nihility, Emptiness

(19:13) Cosmic Individual

While lecturing on anxiety, Christian existentialist philosopher Paul Tillich noticed that there was an enormous response in the post-war era, especially in the younger people, and he sought to give an answer to the growing anxiety which had developed. The aftereffects of the two World Wars had left the world in a state of disorientation, estrangement, anxiety and meaninglessness.

Tillich tells us that there are three types of anxiety: anxiety of death which is tied to the unpredictability of fate (ontic anxiety) anxiety of guilt and condemnation which is linked to the failure to live up to our ideal (moral anxiety), and anxiety of emptiness and meaninglessness, when what one had found most meaningful in life is transformed into indifference or aversion (spiritual anxiety).

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⌛ Timestamps

(0:00) Introduction: Paul Tillich

(3:17) Method of Correlation

(4:02) The Courage to Be: Introduction

(5:49) The Courage to Be: Anxiety

(11:30) The Courage to Be: Participation and Individualisation

(13:12) The Ground of Being

(14:20) Symbols

(16:17) The Ultimate Concern

Lovecraft's dark philosophy is known as Cosmicism, which focuses on the insignificance of humanity and its doings at the cosmos-at-large, in contrast to the anthropocentric philosophies in which many find intellectual reassurance.  This form of non-anthropocentrism is crucial to the philosophy of Cosmicism.  

The question of the meaning of life was better left unanswered. Cosmicism is a type of extreme existentialism, as it brings up the uncertainty about the role of humanity in the uncaring universe, an existential crisis on a large scale.   

Lovecraft embraces the truth of reality. Things are important to us on the human scale, but we simply don’t matter in the cosmos. He described us as "the miserable denizens of a wretched little flyspeck on the back door of a microscopic universe.”

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The Complete Fiction of H.P. Lovecraft

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⌛ Timestamps

(0:00) Introduction: Fear of the Unknown

(1:35) A Biography of H.P. Lovecraft

(7:20) Introdction: Cosmicism

(12:00) The Cthulhu Mythos: Introduction

(14:03) The Cthulhu Mythos: The Elder Things

(15:10) The Cthulhu Mythos: The Great Old Ones and The Deep Ones

(18:05) The Cthulhu Mythos: The Outer Gods

(21:26) Fourth Dimensional Horrors

(24:48) Forbidden Knowledge

(25:50) The Dreamlands

(26:37) Otherness: Anti-Human Becoming

Few artists have so powerfully evoked the uncanny otherness of the unconscious like Swiss artist Peter Birkhäuser. His unknown dream paintings were met with blank incomprehension, and were not well-received by the art community of the time, but, viewed today, his vivid paintings bear striking testament to the disruptive and transformative reality of individuation, the purpose of Jungian psychology, which is to seek wholeness of personality by bringing the unconscious contents into reality.  

After a midlife crisis, Birkhäuser dedicated himself exclusively to bringing these unconscious images into reality. Just how hard this struggle with himself must have been is suggested by the fact that it took the artist twelve years to make the great break and paint a picture entirely according to his own imagination, with no model from the real world.   

The fantasy pictures reflect not only the artist’s own personal psychological situation, but also the spirit of the age, revealing what is taking place in the depths of the collective unconscious in all of the people of our time. Because of this, they are not easy to decipher: they are simply there, and wish to be experienced.

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⌛ Timestamps

(0:00) Introduction: Peter Birkhäuser

(6:06) 1. The World’s Wound (1953)

(7:10) 2. The Cat (1949-1955)

(8:05) 3. Depression (1954-1955)

(8:39) 4. Depression #2 (Date unknown)

(9:16) 5. Duel (Date unknown)

(9:51) 6. Coming Up (1954-1955)

(10:24) 7. The Inward Gaze (1954-1955)

(11:18) 8. The Fourth Dimension (1956-1957)

(12:30) 9. Imprisoned Power (1958)

(13:31) 10. Fire Gives Birth (1959-1960)

(13:59) 11. The Outcast (1960)

(14:36) 12. Puer (1960)

(15:36) 13. The Magic Fish (1961)

(16:14) 14. A Birth (1961)

(16:51) 15. Alarm (Date unknown)

(17:07) 16. The Hidden Power (1964)

(17:40) 17. Moira (1965)

(18:25) 18. Untitled “The Four-Eyed Anima” (Date Unknown)

(18:55) 19. At The Door (1965)

(19:41) 20. With Child (1966)

(19:58) 21. Anima with Crown of Light (1966)

(20:28) 22. The Observer (1966)

(20:54) 23. Bear at the Tree of Light (1968)

(21:28) 24. Dark Brother (Date unknown)

(21:51) 25. Spiritus Animalis II (1968)

(22:18) 26. Window on Eternity (1970)

(23:04) 27. Sun of the Night (1970)

(24:04) 28. The Woman with the Cup (1971)

(24:48) 29. 24 of March 1971 (1971)

(25:17) 30. Constellation (1971)

(25:30) 31. Lighting the Torch (1974)

(25:53) 32. Having Speech (1975)

(26:15) 33. In The Night of 13 October 1942 (1975)

(27:30) 34. Spiritus Naturae (1976)

(27:54) 35. Lynx (1976)