Audio Essay: Squaring the Circle

Translating Potency

Planning often brings anxiety, and that is not unknown. Fears are part of daily life and can be rooted in something we may not always clearly define, but which exists as a constant. This is not a weakness but an opportunity to understand how to deal with something that follows us through time. In this context, we can talk about the concept of potency – something that exists as a possibility but has yet to become reality.

From a first-person perspective, there is no distinction between what is written and what is merely a thought process. However, from the position of the third person (an outside observer), the difference is essential. It represents the line between the potential – between Pleroma and Abraxas – and Helios – the visible (existing). The question is how to make that transition – how to move from potency to realization.

One of the solutions could be to find four points within the circle – four choices within freedom. Squaring the circle, as a mental process, can offer a way out of the chaos of possibilities. The square is structure, rules within freedom.

The four objective choices, aligned diagonally across the central point, show the way to establish balance.

In the middle, the central point has a gravitational nature and a directional path. The path is a symbol of the goal, and the goal is the translation of potency into actualization. But here, it’s important to understand that this doesn’t always happen under the influence of Helios, but sometimes we act under the force of Abraxas (chaotic and amoral), especially when the central point is unknown or undefined.

Helios becomes the key element that connects opposing sets. Through this lens, knowledge (or truthful, holistic understanding) becomes the central point that unites opposites. This dialogue between opposing elements enables the translation of possibility into action and the creation of order out of chaos – the balance of oppositions.

Doubling the Pairs

The number Two has implications of the feminine principle. The entire problem of the square, following Pythagorean mathematics (The Perennial Philosophy – Aldous Huxley), algebraically stands in the symbol of woman, in the number 2.

Four points make a square. A square implies two vertical and two horizontal lines. In the case of a square with a 16:9 ratio, the horizontal lines are closer to the center (the central point) than the vertical ones. The Earth symbol, in relation to the Sky symbol, is closer to Helios in this case. Considering that the lines are representatives of content, we will assume that this is the place where final choices can be made, which are necessary for secure and lasting existence. Choices that do not arise as a result of the “pushing force of the Cosmos” but as entities drawn by the gravitational force of the future.

On Differences:

Horizontal is the field, vertical are the constituents, the participants.

Horizontal is the context, vertical is individuality.

In the horizontal dimension is the community of everything, while in the vertical is only the individual.

The control of choices is divine power. It is the shaping of reality according to inner desire. It is the form-giving language.”

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Audio Essay: Thesis and Anti-thesis

Freedom vs. Destiny

It’s easy to fall into the trap and assume that the opposite of freedom is an empty lack of freedom or imprisonment.

“The soul is free when it is educated.” – M. Eckhart, Goethe

On the opposite side of freedom lies a choice. The Choice is what ends freedom and reduces it to actualization. Freedom is potential (numerous) choices, and Destiny (non-freedom) is one choice.

We make this choice, or the external makes the choice for us. The illusion is of the individual assuming otherwise.

The drawing of the simplest mandala is the most illustrative example of the relationship between freedom and Destiny, potential and actualisation.

Mandala 1

A circle describing a point. The circle is an infinite series of points (choices), or an exponent of freedom, while the point in the middle represents the “singularity” of Destiny, or as Jung says, the Self.

Ref: Jung’s autobiographical sketches of daily Mandalas

Mandala 2

A circle cut in half (into two semicircles). In this mandala, the separation of the whole by the Center line is shown. Two sets, thesis and antithesis. This mandala in its simplest interpretation represents three points, connected by a straight line (alignment of three points). Thesis, Antithesis, and the Relation between. The point of relation (Center) is an exponent of the Self and the basic reference point based on which thesis and antithesis are aligned (recognized). This Mandala is the first step in the coordinate determination of the Self and the first step towards Destiny Choice.

Mandala 3

A circle describing a point, and connected by a spiral. We all want to reach the Center, and we reach it through “freedoms”. Freedoms decrease, or “purify”, in cycles, and gravitate towards the Center. The Center is the Goal and the final step.

Freedoms push, the Center pulls. Ref: Terence McKenna and the theory of time (novum).

Maturity of consciousness is needed for Destiny. Infantile awareness, as the predominant collective neurosis, complicates this form of awareness. In a Biblical sense, the Devil is dressed in “new” garments and presents himself as the most beautiful angel, freedom.

Comment:

Free will and multiverse movies

We can often interpret movies as compensatory manifestations of our collective (or personal) shortcomings. The era of superhero movies portrays a picture of individual impotence, which is somewhat understandable due to the time we live in. However, multiverse movies provide a more interesting compensation. Compensation for the lack of free will. By depicting endless arrays of potential scenarios and possible realities, they relativize the importance of singularity behind phenomena but provide the comfort of indefiniteness (freedom).

Individual state – How Human is greater than the Cosmos

The collective existence of indefiniteness is permissible to the Cosmos, which measures its story in billions of years, and its development has practically just begun, however, this is not a good position for the individual.

Our insignificance in years, on the other hand, offers us a solution.

Every story consists of three constituents: Beginning, Middle, and End. These constituents make up the story of the Cosmos as much as they make up the story of a single Human. Although our experience of the Cosmos is of something almost Infinite, although we feel practically frightened by this magnitude, there exists in us another feeling of greatness standing as opposition to this fear. That greatness is the greatness of hypothetical inner infinity, which is as great as the external infinity, only its miniature representation.

Both infinities stand in a parallel, balanced relationship. However, while the external Infinity will potentially need hundreds of billions of years to reach the “Middle” of its Story, inner Infinity has the advantage of accelerated development.

Wrong unit of measurement (reference)

“So the World works, so will I,” is the basic fallacy. The “World” has time. The World is part of the Cosmic narrative.

The entirety of our story (beginning – middle – end) is written and played in about 100 years. All chapters, all transformations, all conceptualizations, all actualizations, all archetypal representations.

The differences between the beginning and the middle, as well as the middle and the end, are evident. These are differences between the young and the mature, the mature and the wise. It is also evident that the world is still in the infancy of its teenage years. This child is not an ethical-aesthetic norm, but merely a reference to the stage of development. A reference to the collective antithesis, which is at the beginning of development and will need much more time to mature.

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Why does the Wizard look at the sphere?

There is a well-known story of a wizard (the archetype of a Wise Old Man), who has the power to look into the sphere from which he reads the future. The sphere is a pictorial representation of Pleroma. The sphere is potency. In order to read the “objective” future from the overall potency, we need a stable reference point of the Present. Based on this point, the historicity (identity) is written, and based on the historicity, the future is anticipated (projected). This reference point is the archetype of the Wise Old Man because it is he who shapes the objective (Logical) direction. The ordinary person, through the sphere, necessarily reads (writes), the wrong (unfinished), image of the future because he experiences the image of the world (reference point) through the subject’s prism of the burdened ego. Ref: Leonardo’s Salvador Mundi (Christ with the Ball) – a moralistic story

Comment: This folklore story has extended over time to witches, sorcerers, or wizards who serve the Shadow. Deviation from the archetype of the Wise Old Man to the archetype of the Clown and the archetype of the Shadow is an insinuation that an excessive focus on the future is not necessarily morally correct, or that it potentially entails trouble. Perhaps it is only the Spirit of the Present Time that seduces into wrong (temporal) definitions.

The advice I give myself

I have noticed that I often give people one piece of advice, and that is to try to read (interpret) their waking state and events in the same symbolic language with which we read dreams. We can also consider all the awake performances that we experience as archetypal. These are minimal and fragmented archetypes, mostly laden with anti-examples, but again, the picture is there. By reading our own historicity, through the logical-visual prisms of archetypal representations, we categorize and gather (synthesize) objective sets (Noah’s task).

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