7 pro study tips

https://www.inc.com/jessica-stillman/how-to-study-according-to-cognitive-science.html

Wolf may walk in a pack but is a lone warrior

War is above all else a struggle over who can control the actions of the other side to a greater extent.

Facebook/social media

“The things that you rely on, the short-term dopamine-driven feedback loops that we have created, are destroying how society works: no civil discourse, no cooperation, misinformation, mistruth,”

We curate our lives around thisperceived sense of perfection because we get rewarded in these short-term signals—hearts, likes, thumbs up—and we conflate that with value, and we conflate it with truth. And instead what it really is is fake, brittle popularity that’s short-term and that leaves you even more—admit it—vacant and empty before you did it, because then it forces you into this vicious cycle where you’re like “What’s the next thing I need to do now because I need it back?”

Former Facebook vice president of user growth Chamath Palihapitiya 

The only man I know who behaves sensibly is my tailor; he takes my measurements anew each time he sees me. The rest go on with their old measurements and expect me to fit them

Biases in a workplace- make unconscious conscious

Hold everyone accountable. 

There is a way to make the unconscious conscious. However, it requires that you create an awareness around bias and hold everyone accountable.  First, let's take a look at a few of the biases that directly impact the workplace via UNC Kenan-Flagler's Program Director of Executive Development, Horace McCormick, Jr.: 

Affinity bias - The tendency to gravitate towards people who remind us of ourselves. 

Halo effect - The tendency to always see someone in a positive light because of their title or because you like them. 

Perception bias - The tendency to form stereotypes and assumptions about certain groups that make objective decision making impossible. 

Confirmation bias - The tendency for people to only seek out information that confirms their preexisting beliefs or assumptions. 

Group-think - The tendency for people to go along with the group rather than voicing their individual thoughts and beliefs. 

Alright, now that you're aware of the types of biases in the workplace, it's time to hold people accountable. On an individual basis, Google suggests that managers give themselves a moment before making a final decision. This "breather" gives them a chance to question their impressions and justify their rationale.

One of the easiest ways to force yourself into doing this is to write things down and to ask others for feedback before drawing any conclusions. 

On an organizational level, Google creates a bias-busting culture by providing awareness training, encouraging employees to call out potential bias issues, and suggesting that employees consider diverse perspectives and come to a collective decision. 

Diversity is a huge competitive advantage that will be stymied if organizations don't address unconscious bias in the workplace. 

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Yanomami Venezuela

AI

Producing content

Healing song

Forward

Complementarity- different but equal

Infidelity

Would I ever recommend it? Now, I would no more recommend you to have an affair than I would recommend you have cancer, and yet we know that people who have been ill often talk about how their illness has yielded them a new perspective. The main question that I’ve been asked since I arrived at this conference when I said I would talk about infidelity is, for or against? I said, “Yes.”

I look at affairs from a dual perspective: hurt and betrayal on one side, growth and self-discovery on the other — what it did to you, and what it meant for me. And so when a couple comes to me in the aftermath of an affair that has been revealed, I will often tell them this: Today in the West, most of us are going to have two or three relationships or marriages, and some of us are going to do it with the same person. Your first marriage is over. Would you like to create a second one together?

Komedia/Tragedia Comedy/Tragedy

Literatura współczesna zajmuje się w dużej mierze odważną, pilną obserwacją wywołujących obrzydzenie, przetrąconych kształtów, od których roi się wokół nas i w nas. Tam, gdzie stłumiony został naturalny impuls oskarżania o holocaust- głośnego obwiniania albo ogłaszania panaceum- urzeczywistnia się wielkość sztuki tragedii potężniejszej (dla nas) niż grecka, realistycznej, dobrze nam znanej i w wielu aspektach interesusjącej tragedii demokracji, gdzie ogląda się boga ukrzyżowanego w katastrofach nie tylko potężnych domów królewskich, ale też domów zwykłych ludzi, w każdej wysmaganej i okaleczonej twarzy. I nie ma tu żadnych zmyśleń o niebie, przyszłym szczęściu i zapłacie, które złagodziłyby ów srogi majestat, lecz tylko absolutna ciemność, pustka niespełniona, które pochłaniają istnienia zrodzone jedynie po to, by przegrać. W porównaniu z tym wszystkim nasze historyjki o osiągnięciach brzmią żałośnie. Zbyt dobrze znamy gorycz porażki, straty, rozczarwania i niespełnienia, będącą udziałem nawet tych, którym zazdrości świat. Dlatego nie jesteśmy skłonni przyznawać komedii tak wysokiej rangi jak tragedii. Komedię można zaakceptować jako satyrę, jako przyjemną przystań rozrywki, ale baśni o szczęśliwym życiu po jej zakończeniu nie można brać poważnie. Należy ona do fantastycznej krainy dzieciństwa, chronionej przed rzeczywistością, która wkróte ukaże swe straszne oblicze, tak jak mit o wiecznej szczęśliwości jest dla ludzi starych, którzy muszą przygotować swe serca na przejście prez ostatnią bramę w ciemną noc. Ten trzeźwy sąd współczesnego Zachodu opiera się na całkowitym niezrozumieniu rzeczywistości przedstawionej w baśni, micie i boskiej komedii zbawienia. W starożytnym świecie wszystkie te formy uważane były za stojące wyżej od tragedii, przedstawiające głębszą prawdę, trudniejsze do stworzenia, mające logiczną strukturę i więcej odkrywające. Szczęśliwe zakończenie baśni, mitu i boskiej komedii duszy powinno być odczytywane nie jako zaprzeczenie, ale jako transcendencja uniwersalnej tragedii człowieka. Świat obiektywnie istniejący pozostaje w takim przypadku taki sam, jak był, ale w wyniku przesunięcia akcentu postrzegany jest tak, jakby został zmieniony. Tam, gdzie poprzednio walczyły ze sobą życie i śmierć, teraz ukazuje się jasno byt, który przetrwał, tak obojętny na wydarzenia czasu jak woda gotująca się w czajniku na los pojawiającego się na jej powierzchni pęcherzyka albo jak kosmos na pojawienie się i zniknięcie całej galaktyki.

Tragedia jest rozbiciem form i naszego przywiązania do nich; komedia- szalona i beztroska- niewyczerpaną radością niezwyciężonego życia. A zatem obie są członami jednego mitologicznego tematu i doświadczenia,

które obejmuje je obie i którego stanowią granice- są schodzeniem i wchodzeniem (kathados i anodos), które łącznie składają się na całość objawienia, jakim jest życie, i które jednostka musi znać i kochać, jeśli ma zostać oczyszczona ze skazy grzechu (nieposłuszeństwa wobec woli boskiej) i śmierci (utożsamienia ze śmiertelną formą).

„Wszystko się zmienia nic nie umiera. Duch wędruje, przybywa raz tu, raz tam i zajmuje taki kształt, jaki zechce [...]. Bo tego, co niegdyś istniało, już nie ma, a to, czego nie było, stało się; i tak znowu przemija cały cykl ruchu”

„Tylko ciała, w których mieszka ta wieczna, niezniszczalna, niepojęta Istota, mają kres”.

Jest zadaniem mitologii właściwej i baśni ukazanie specyficznych niebezpieczeństw i technik ciemnej drogi prowadzącej w głębi duszy od tragedii do komedii. Dlatego wydarzenia są fantastyczne i ‘nierzeczywiste’ przedstawiają zwycięstwa psychiczne, nie fizyczne. (...) Zanim to i to będzie można zrobić w rzeczywistości ziemskiej, trzeba wprzódy sprawić, żeby coś bardziej podstawowego, coś ważniejszego przeszło przez labirynt, który wszyscy znamy i odwiedzamy w naszych snach. Nawiasem mówiąc, przejście bohatera mitologicznego przez labirynt może mieć miejsce na ziemi, chociaż jest ono wejściem do wewnątrz- w głębiny, w których pokonuje się nieznany opór i odnajduje dawno utracone, zapomniane moce, dzięki którym można przekształcać świat. Po dokonaniu tego życie nie jest nieustannym pasmem udręk i cierpień w obliczu wszechoobecnego nieszczęścia, znoszeniem bez cienia nadziei ciosów czasu i okropności przestrzeni, ale- mimo nadal widocznej jego grozy i przeraźliwych krzyków bólu- zaczyna je przenikać podtrzymująca na duchu miłość i świadomość własnej niezwyciężonej mocy. Zaczyna przenikać z coraz większą siłą nieco tego światła, które płonie w jego otchłaniach, lecz nie jest normalnie widoczne przez nieprzejrzystą materialność. Straszne zniekształcenia jawią się wtedy jako zaledwie cienie immanentnej, niezniszczalej wieczności, czas ustępuje chwale, a cały świat rozbrzmiewa cudowną,anielską, choć może w końcu monotonną muzyką sfer. Podobnie jak szczęśliwe rodziny, mity i zbawione światy są wszystkie takie same.

Modern literature is devoted, in great measure, to a courageous,

open-eyed observation of the sickeningly broken figurations that

abound before us, aroimd us, and within. Where the natural impulse

to complain against the holocaust has been suppressed—to

cry out blame, or to announce panaceas—the magnitude of an

art of tragedy more potent (for us) than the Greek finds realization:

the realistic, intimate, and variously interesting tragedy of

democracy, where the god is beheld crucified in the catastrophes

not of the great houses only but of every common home, every

scourged and lacerated face. And there is no make-believe about

heaven, future bliss, and compensation, to alleviate the bitter

majesty, but only utter darkness, the void of unfulfillment, to receive

and eat back the lives that have been tossed forth from the

womb only to fail.

In comparison with all this, our little stories of achievement

seem pitiful; Too well we know what bitterness of failure, loss,

disillusionment, and ironic unfulfillment galls the blood of even

the envied of the world! Hence we are not disposed to assign

to comedy the high rank of tragedy. Comedy as satire is acceptable,

as fun it is a pleasant haven of escape, but the fairy tale of

happiness ever after cannot be taken seriously; it belongs to the

never-never land of childhood, which is protected from the realities

that will become terribly known soon enough; just as the

myth of heaven ever after is for the old, whose lives are behind

them and whose hearts have to be readied for the last portal of

the transit into night—which sober, modern Occidental judgment

is founded on a total misunderstanding of the realities

depicted in the fairy tale, the myth, and the divine comedies of

redemption. These, in the ancient world, were regarded as of

a higher rank than tragedy, of a deeper truth, of a more difficult

realization, of a sounder structure, and of a revelation more

complete.

The happy ending of the fairy tale, the myth, and the divine

comedy of the soul, is to be read, not as a contradiction, but as a

transcendence of the universal tragedy of man. The objective

world remains what it was, but, because of a shift of emphasis

within the subject, is beheld as though transformed. Where

formerly life and death contended, now enduring being is made

manifest—as indifferent to the accidents of time as water boiling

in a pot is to the destiny of a bubble, or as the cosmos to the appearance

and disappearance of a galaxy of stars. Tragedy is the

shattering of the forms and of our attachment to the forms; comedy,

the wild and careless, inexhaustible joy of life invincible.

Thus the two are the terms of a single mythological theme and

experience which includes them both and which they bound: the

down-going and the up-coming (kathodos and anados), which

together constitute the totality of the revelation that is life, and

which the individual must know and love if he is to be purged

(kathursis = purgatorio) of the contagion of sin (disobedience to

the divine will) and death (identification with the mortal form).

"All things are changing; nothing dies. The spirit wanders,

comes now here, now there, and occupies whatever frame it

pleases. . . . For that which once existed is no more, and that

which was not has come to be; and so the whole round of motion

is gone through again."1'1 "Only the bodies, of which this eternal,

imperishable, incomprehensible Self is the indweller, are said to

have an end."34

It is the business of mythology proper, and of the fairy tale, to

reveal the specific dangers and techniques of the dark interior

way from tragedy to comedy. Hence the incidents are fantastic

and "unreal": they represent psychological, not physical, triumphs.

Even when the legend is of an actual historical personage,

the deeds of victory are rendered, not in lifelike, but in

dreamlike figurations; for the point is not that such-and-such

was done on earth; the point is that, before such-and-such could

be done on earth, this other, more important, primary thing had

to be brought to pass within the labyrinth that we all know and

visit in our dreams. The passage of the mythological hero may

be over-ground, incidentally; fundamentally it is inward—into

depths where obscure resistances are overcome, and long lost,

forgotten powers are revivified, to be made available for the

transfiguration of the world. This deed accomplished, life no

longer suffers hopelessly under the terrible mutilations of ubiquitous

disaster, battered by time, hideous throughout space; but

with its horror visible still, its cries of anguish still tumultuous,

it becomes penetrated by an all-suffusing, all-sustaining love,

and a knowledge of its own unconquered power. Something of the

light that blazes invisible within the abysses of its normally opaque

materiality breaks forth, with an increasing uproar. The dreadful

mutilations are then seen as shadows, only, of an immanent,

imperishable eternity; time yields to glory; and the world sings

with the prodigious, angelic, but perhaps finally monotonous,

siren music of the spheres. Like happy families, the myths and

the worlds redeemed are all alike.

Katharsis

Oczyszczenie uczuć widza poprzez doświadczanie litości i strachu. Litość jest uczuciem, które zatrzymuje ducha na widok wszystkiego, co ciężkie i nieprzemijające w ludzkim cierpieniu, i łączy go z cierpiącym człowiekiem. Strach jest uczuciem, które zatrzymuje ducha na widok wszystkiego, co ciężkie i nieprzemijające w ludzkim cierpieniu i łączy go z tajemną przyczyną

Campbell s.24

Each event has a probability that depends on the state of the system and perhaps also on its previous history

Vampires

Shadows of the internal kind may be disempowered like vampires, simply by bringing them
out of the Shadows and into the light of consciousness

Shadow archetype, dark side,evil

Soul- mediator between Self and ego, between self and other

Rola psychoanalityka

Do terapii Pacjenci często zgłaszają się, ponieważ nie mają już chęci życia, nie mają woli robienia czegokolwiek bądź też czują, że ich libido jest tłumione i „usycha". Słowem - ich pragnienie umiera (...)  Analityk musi podtrzymać pozycję pragnienia - pragnienia, by pacjent mówił, śnił, fantazjował, kojarzył i interpretował”. 

Magic the Gathering Game

https://mtg.gamepedia.com/Multicolored

Trickster

There's a wonderful story in some African tradition of the god who's walking down the road wearing a hat that is colored red on one side and blue on the other side. When the farmers in the field go into the village in the evening, they say, "Did you see that god with the blue hat?" And the others say, "No, no, he had a red hat on." And they get into a fight.
 CAMPBELL: Yes, that's the Nigerian trickster god, Eshu. He makes it even worse by first walking in one direction and then turning around and turning his hat around, too, so that again it will be red or blue. Then when these two chaps get into a fight and are brought before the king for judgment, this trickster god appears, and he says, "It's my fault, I did it, and I meant to do it. Spreading strife is my greatest joy."

A trickster does not live near the hearth; he does not live in the halls of justice, the soldier’s tent, the shaman’s hut, the monastery. He passes through each of these when there is a moment of silence, and he enlivens each with mischief, but he is not their guiding spirit. He is the spirit of the doorway leading out (wejście prowadzące na zewnątrz), and of the crossroad at the edge of town (the one where a little market springs up). He is the spirit of the road at dusk, the one that runs from one town to another and belongs to neither.

Trickster is the boundary- crosser. Every group has its edge, its sense of in and out, and trickster is always there, at the gates of the city and the gates of life, making sure there is commerce. He also attends the internal boundaries by which groups articulate their social life. We constantly distinguish- right and wrong , sacred and profane, clean and dirty, male and female, young and old, living and dead- and in every case trickster will cross the line and confuse the distinction.

Where someone’s sense of honorable behavior has left him unable to act, trickster will appear to suggest an amoral action, something right/wrong that will get life going again.  Trickster is the mythic embodiment of ambiguity and ambivalence, doubleness and duplicity, contradiction and paradox.

Trickster Is a boundary-crosser, but there are also cases in which trickster creates a boundary, or brings to the surface a distinction previously hidden from sight. The god of the threshold in all its forms.

Trickster makes this world 

Zodiacs/Mythological figures

Original/Conventional/Dimensional mind (Dimensional mind-Master mind)

If we think deeply about our childhood, not just about our memories of it but how it actually felt, we realize how differently we experienced the world back then. Our minds were completely open, and we entertained all kinds of surprising, original ideas. Things that we now take for granted, things as simple as the night sky or our reflection in a mirror, often caused us to wonder. Our heads teemed with questions about the world around us. Not yet having commanded language, we thought in ways that were preverbal—in images and sensations. When we attended the circus, a sporting event, or a movie, our eyes and ears took in the spectacle with utmost intensity. Colors seemed more vibrant and alive. We had a powerful desire to turn everything around us into a game, to play with circumstances.
Let us call this quality the Original Mind. This mind looked at the world more directly—not through words and received ideas. It was flexible and receptive to new information. Retaining a memory of this Original Mind, we cannot help but feel nostalgia for the intensity with which we used to experience the world. As the years pass, this intensity inevitably diminishes. We come to see the world through a screen of words and opinions; our prior experiences, layered over the present, color what we see. We no longer look at things as they are, noticing their details, or wonder why they exist. Our minds gradually tighten up. We become defensive about the world we now take for granted, and we become upset if our beliefs or assumptions are attacked.
We can call this way of thinking the Conventional Mind. Under pressure to make a living and conform to society, we force our minds into tighter and tighter grooves. We may seek to retain the spirit of childhood here and there, playing games or participating in forms of entertainment that release us from the Conventional Mind. Sometimes when we visit a different country where we cannot rely upon everything being familiar, we become childlike again, struck by the oddness and newness of what we are seeing. But because our minds are not completely engaged in these activities, because they last only a short while, they are not rewarding in a deep sense. They are not creative.
Masters and those who display a high level of creative energy are simply people who manage to retain a sizeable portion of their childhood spirit despite the pressures and demands of adulthood. This spirit manifests itself in their work and in their ways of thinking. Children are naturally creative. They actively transform everything around them, play with ideas and circumstances, and surprise us with the novel things they say or do. But the natural creativity of children is limited; it never leads to discoveries, inventions, or substantial works of art.
Masters not only retain the spirit of the Original Mind, but they add to it their years of apprenticeship and an ability to focus deeply on problems or ideas. This leads to high-level creativity. Although they have profound knowledge of a subject, their minds remain open to alternative ways of seeing and approaching problems. They are able to ask the kinds of simple questions that most people pass over, but they have the rigor and discipline to follow their investigations all the way to the end. They retain a childlike excitement about their field and a playful approach, all of which makes the hours of hard work alive and pleasurable. Like children, they are capable of thinking beyond words—visually, spatially, intuitively—and have greater access to preverbal and unconscious forms of mental activity, all of which can account for their surprising ideas and creations.
Some people maintain their childlike spirit and spontaneity, but their creative energy is dissipated in a thousand directions, and they never have the patience and discipline to endure an extended apprenticeship. Others have the discipline to accumulate vast amounts of knowledge and become experts in their field, but they have no flexibility of spirit, so their ideas never stray beyond the conventional and they never become truly creative. Masters manage to blend the two—discipline and a childlike spirit—together into what we shall call the Dimensional Mind. Such a mind is not constricted by limited experience or habits. It can branch out into all directions and make deep contact with reality. It can explore more dimensions of the world. The Conventional Mind is passive—it consumes information and regurgitates it in familiar forms. The Dimensional Mind is active, transforming everything it digests into something new and original, creating instead of consuming.
It is hard to say exactly why Masters are able to retain their childlike spirit while accumulating facts and knowledge, when such a feat has been difficult if not impossible for so many. Perhaps they found it harder to let go of childhood, or perhaps at some point they intuited the powers they could have by keeping their childhood spirit alive and bringing it to bear in their work. In any event, achieving the Dimensional Mind is never easy. Often, the childlike spirit of Masters lies dormant in the Apprenticeship Phase as they patiently absorb all of the details of their field. This spirit then comes back to them as they attain the freedom and opportunity to actively use the knowledge they have gained. Often it is a struggle, and Masters go through a crisis as they deal with the demands of others to conform and be more conventional. Under such pressure, they may try to repress their creative spirit, but often it comes back later with double intensity.
Understand: we all possess an inborn creative force that wants to become active. This is the gift of our Original Mind, which reveals such potential. The human mind is naturally creative, constantly looking to make associations and connections between things and ideas. It wants to explore, to discover new aspects of the world, and to invent. To express this creative force is our greatest desire, and the stifling of it the source of our misery. What kills the creative force is not age or a lack of talent, but our own spirit, our own attitude. We become too comfortable with the knowledge we have gained in our apprenticeships. We grow afraid of entertaining new ideas and the effort that this requires. To think more flexibly entails a risk—we could fail and be ridiculed. We prefer to live with familiar ideas and habits of thinking, but we pay a steep price for this: our minds go dead from the lack of challenge and novelty; we reach a limit in our field and lose control over our fate because we become replaceable.
What this means, however, is that we equally possess the potential to spark this innate creative force back to life, no matter how old we are. Experiencing a return of this creative force has an immensely therapeutic effect on our spirits and on our career. By understanding how the Dimensional Mind operates and what helps it flourish, we can consciously revive our mental elasticity and reverse the deadening process. The powers that the Dimensional Mind can bring are nearly limitless, and within the reach of almost all of us.
Look at the case of Wolfgang Amadeus Mozart. He is generally considered the epitome of the child prodigy and the inexplicable genius, a freak of nature. How else are we to explain his uncanny abilities at such a young age, and the ten-year burst of creative activity at the end of his life that culminated in so many innovations and universally loved works? In truth, his genius and creativity is eminently explicable, which does not at all diminish his achievements.
Immersed in and enchanted by music from the very beginning of his life, he brought to his earliest studies a high level of focus and intensity. The mind of a four-year-old is even more open and impressionable than that of a child a few years older. Much of this powerful attention stemmed from his deep love of music. And so practicing the piano was not some kind of chore or duty, but an opportunity to expand his knowledge and to explore more musical possibilities. By the age of six, he had accumulated the hours of practice of someone twice his age. The years of touring exposed him to every possible trend and innovation of his time. His mind became filled with an extensive vocabulary of forms and styles.
In his adolescence Mozart experienced a typical creative crisis, one that often destroys or derails those who are less tenacious. For close to eight years, under pressure from his father, the archbishop, and the court of Salzburg, and bearing the burden of supporting his family, he had to temper his own powerful creative urges. At this critical point he could have succumbed to this dampening of his spirit and continued to write relatively tame pieces for the court. He would have then ended up among the lesser-known composers of the eighteenth century. Instead he rebelled and reconnected with his childlike spirit—that original desire of his to transform the music into his own voice, to realize his dramatic urges in opera. With all of his pent-up energy, his long apprenticeship, the deep level of his knowledge, he naturally exploded with creativity once he had freed himself from his family. The speed with which he could compose such masterpieces is not a reflection of some divine gift, but rather of how powerfully his mind had come to think in musical terms, which he could translate easily onto paper. He was not a freak, but a signpost of the outer reaches of the creative potential we all naturally possess.
The Dimensional Mind has two essential requirements: one, a high level of knowledge about a field or subject; and two, the openness and flexibility to use this knowledge in new and original ways. The knowledge that prepares the ground for creative activity largely comes from a rigorous apprenticeship in which we have mastered all of the basics. Once the mind is freed from having to learn these basics, it can focus on higher, more creative matters. The problem for us all is that the knowledge we gain in the Apprenticeship Phase—including numerous rules and procedures—can slowly become a prison. It locks us into certain methods and forms of thinking that are one-dimensional. Instead, the mind must be forced from its conservative positions and made active and exploratory.
To awaken the Dimensional Mind and move through the creative process requires three essential steps: first, choosing the proper Creative Task, the kind of activity that will maximize our skills and knowledge; second, loosening and opening up the mind through certain Creative Strategies; and third, creating the optimal mental conditions for a Breakthrough or Insight. Finally, throughout the process we must also be aware of the Emotional Pitfalls—complacency, boredom, grandiosity, and the like—that continually threaten to derail or block our progress. If we can move through the steps while avoiding these traps, we cannot fail to unleash powerful creative forces from within.



IF PEOPLE KNEW HOW HARD I WORKED TO GET MY MASTERY, IT WOULDN'T SEEM SO WONDERFUL AT ALL

MICHELANGELO

Creative process hints

1,7,8 rocks

Ending: KISS system: Keep It Simple, Stupid

8.30 about tiny little decisins which ruin you

https://www.youtube.com/watch?v=2Lz0VOltZKA

Current crew

PURE GENIUS, BRUCE LEE ON SELF ESTEEM as highest aim, best religion AND RIOTS

Pride is a sense of worth derived from something that is not organically part of us; while self-esteem derives from the potentialities and achievements of self. We are proud when we identify ourselves with an imaginary self, a leader, a holy cause, a collective body of possessions. There is fear and intolerance in pride; it is insensitive and uncompromising. The less promise and potency in the self, the more imperative is the need for pride. The core of pride is self-rejection. It is true that when pride releases energies and serves as a spur to achievement, it can lead to a reconciliation with the self and the attainment of genuine self-esteem.

We acquire a sense of worth either by realizing our talents, or by keeping busy, or by identifying ourselves with something apart from us—be it a cause, a leader, a group, possessions and the like. Of the three, the path of self-realization is the most difficult. It is taken only when other avenues to a sense of worth are more or less blocked. Men of talent have to be encouraged and goaded to engage in creative work. Their groans and laments echo through the ages.

The autonomous individual, striving to realize himself and prove his worth, has created all that is great in literature, art, music, science, and technology. The autonomous individual, also, when he can neither realize himself nor justify his existence by his own efforts, is a breeding of frustration, and the seed of the convulsions that shake our world to its foundations. The individual on his own is stable only so long as he is possessed of self-esteem. The maintenance of self-esteem is a continuous task that taxes all of the individual’s power and inner resources. We have to prove our worth and justify our existence anew each day. When, for whatever reason, self-esteem is unattainable, the autonomous individual becomes a highly explosive entity. He turns away from an unpromising self and plunges into the pursuit of pride—the explosive substitute for self-esteem. All social disturbances and upheavals have their roots in a crisis of individual self-esteem, and the great endeavors in which the masses most readily unite is basically a search for pride.

The times of drastic change are times of passion. We can never be fit and ready for that which is wholly new. We have to adjust ourselves, and every radical adjustment is a crisis in self-esteem: we undergo a test; we have to prove ourselves. A population subjected to drastic change is thus a population of misfits, and misfits live and breathe in an atmosphere of passion.That we pursue something passionately does not always mean that we really want it or have a special aptitude for it. Often the thing we pursue most passionately is but a substitute for the one thing we really want and cannot have. It is usually safe to predict that the fulfillment of an excessively cherished desire is not likely to still our nagging anxiety. In every passionate pursuit, the pursuit counts more than the object pursued.
Humility is not renunciation of pride but the substitution of one pride for another.

To become different from what we are, we must have some awareness of what we are. Whether being different results in dis-simulation or a real change of heart—it cannot be realized without self-awareness. Yet it is remarkable that the very people who are most self-dissatisfied and crave most for a new identity have the least self-awareness. They have turned away from an unwanted self and hence never had a good look at it. The result is that those most dissatisfied can neither dissimulate nor attain a real change of heart. They are transparent, and their unwanted qualities persist through all attempts at self-dramatization and self-transformation.

Thinking is not freedom

Thinking is not freedom—all thought is partial; it can never be total. Thought is the response of memory and memory is always partial, because memory is the result of experience. So, thought is the reaction of a mind conditioned by experience.

SIMPLIFYING THE EXPERIENCE OF BEING OVERWHELMED

Many a martial artist likes “more,” likes “something different,” not knowing the truth and the way is exhibited in the simple everyday movements, because it is here they miss it. If there is any secret, it is missed by seeking.
Bruce Lee

You cannot see a street fight in its totality, observing it from the viewpoint of a boxer, a kung-fu man, a karateka, a wrestler, a judo man and so forth. You can see clearly only when style does not interfere. You then see it without “like” or “dislike”; you simply see and what you see is the whole and not the partial.

Thinking is not freedom—all thought is partial; it can never be total. Thought is the response of memory and memory is always partial, because memory is the result of experience. So, thought is the reaction of a mind conditioned by experience.

Logic MTV 2017

Understanding oneself happens through a process of relationships and not through isolation.

NO WAY AS WAY, NO LIMITATIONS AS LIMITATIONS

• Partiality: a separated yin/yang symbol representing a separated identity that runs to extremes and is not in harmony with itself.
• Fluidity: a unified yin/yang symbol which represents an achievement of balance between the masculine and feminine natures and arrows showing the constant interplay between the two.
• Emptiness: the formless form. Empty your mind and let it be free and uncluttered, ready to respond in the moment.
• The Core Symbol of Jeet Kune Do: representing the ultimate self realized man. The Chinese writing reads: “Using no way as way, having no limitation as limitation.”

https://www.youtube.com/watch?v=YL2Iq3UfQVI LAO TZU

Death

We all relish a little taste of death every now and then. Its bitter flavor makes life taste sweeter. Anyone who has survived a true near-death experience, a sudden close call in a car or plane, knows that for a while afterward colors seem sharper, family and friends are more important, and time is
more precious. The nearness of death makes life more real.

Jung's Heroic Archetypes

Heroic Archetypes:

1. Hero as warrior (Odysseus): A near god-like hero faces physical challenges and external enemies 2. Hero as lover (Prince Charming): A pure love motivate hero to complete his quest
3. Hero as Scapegoat (Jesus): Hero suffers for the sake of others
4. Transcendent Hero: The hero of tragedy whose fatal flaw brings about his downfall, but not without achieving some kind of transforming realization or wisdom (Greek and Shakespearean tragedies—Oedipus, Hamlet, Macbeth, etc.)
5. Romantic/Gothic Hero: Hero/lover with a decidedly dark side (Mr. Rochester in Jane Eyre)
6. Proto-Feminist Hero: Female heroes (The Awakening by Kate Chopin)
7. Apocalyptic Hero: Hero who faces the possible destruction of society
8. Anti-Hero: A non-hero, given the vocation of failure, frequently humorous (Homer Simpson)
9. Defiant Anti-hero: Opposer of society’s definition of heroism/goodness. (Heart of Darkness)
10. Unbalanced Hero: The Protagonist who has (or must pretend to have) mental or emotional deficiencies (Hamlet, One Flew Over the Cuckoo’s Nest)
11. The Other—the Denied Hero: The protagonist whose status or essential otherness makes heroism possible (Invisible Man by Ralph Ellison, The Joy Luck Club by Amy Tan)
12. The Superheroic: Exaggerates the normal proportions of humanity; frequently has divine or supernatural origins. In some sense, the superhero is one apart, someone who does not quite belong, but who is nonetheless needed by society. (Mythological heroes, Superman)

Art piece

Man's look like a machine/industrial building, woman like a beautiful woman

Hero's journey Vogler

PSYCHOLOGICAL FUNCTION

In psychological terms, the archetype of the Hero represents what Freud called the
ego — that part of the personality that separates from the mother, that considers
itself distinct from the rest of the human race. Ultimately, a Hero is one who is able
to transcend the bounds and illusions of the ego, but at first, Heroes are all ego: the I,
the one, that personal identity which thinks it is separate from the rest of the group.
The journey of many Heroes is the story of that separation from the family or tribe,
equivalent to a child's sense of separation from the mother.
The Hero archetype represents the ego's search for identity and wholeness.
In the process of becoming complete, integrated human beings, we are all Heroes
facing internal guardians, monsters, and helpers. In the quest to explore our own
minds we find teachers, guides, demons, gods, mates, servants, scapegoats, masters,
seducers, betrayers, and allies, as aspects of our personalities and characters in our
dreams. All the villains, tricksters, lovers, friends, and foes of the Hero can be found
inside ourselves. The psychological task we all face is to integrate these separate parts
into one complete, balanced entity. The ego, the Hero thinking she is separate from
all these parts of herself, must incorporate them to become the Self.

I DEPARTURE

1) Ordinary World

Look around, sister, brother of the Home Tribe. You can see the people are barely getting by,
surviving on a dwindling supply of last season's food. Times are bad and the country all
around seems lifeless. The people grow weak before our eyes, but a few of us are filed with
restless energy.
Like you. You're uncomfortable, feeling you no longer fit in with this drab, exhausted place.
You may not know it, but you're soon to be selected as a hero, to join the select company of
the Seekers, those who have always gone out to face the unknown. You'll undertake a journey
to restore life and health to the entire Home Tribe, an adventure in which the only sure thing
is that you'll be changed. You're uneasy, but there's a thrill running through you. You're poised
to break free from this world, ready to enter the world of adventure.

2) Call to Adventure

Trouble shadows the Home Tribe. You hear its call, in the grumbling of our stomachs and the
cries of our hungry children. The land for miles around is tapped out and barren and clearly
someone must go out beyond the familiar territory. That unknown land is strange and fills us
with fear, but pressure mounts to do something, to take some risks, so that life can continue.
A figure emerges from the campfire smoke, an elder of the Home Tribe, pointing to you. Yes,
you have been chosen as a Seeker and called to begin a new quest. You'll venture your life so
that the greater life of the Home Tribe may go on.

3) Refusal of the Call

Gather your gear, fellow Seeker. Think ahead to possible dangers, and reflect on past disasters.
The specter of the unknown walks among us, halting our progress at the threshold. Some of
us turn down the quest, some hesitate, some are tugged at by families who fear for our lives
and don't want us to go. You hear people mutter that the journey is foolhardy, doomed from
the start. You feel fear constricting your breathing and making your heart race. Should you
stay with the Home Tribe, and let others risk their necks in the quest? Are you cut out to be
a Seeker?

4) Meeting with the Mentor

You Seekers, fearful at the brink of adventure, consult with the elders of the Home Tribe. Seek
out those who have gone before. Learn the secret lore of watering holes, game trails, and berry
patches, and what badlands, quicksand, and monsters to avoid. An old one, too feeble to go out
again, scratches a map for us in the dirt. The shaman of the tribe presses something into your
hand, a magic gift, a potent talisman that will protect us and guide us on the quest. Now we
can set out with lighter hearts and greater confidence, for we take with us the collected wisdom
of the Home Tribe.

5) Crossing the first Threshold

The ranks of the Seekers are thinner now. Some of us have dropped out, but the final few
are ready to cross the threshold and truly begin the adventure. The problems of the Home
Tribe are clear to everyone, and desperate — something must be done, now! Ready or not,
we lope out of the village leaving all things familiar behind. As you pull away you feel the
jerk of the invisible threads that bind you to your loved ones. It's difficult to pull away from
every thing you know but with a deep breath you go on, taking the plunge into the abyss of the
unknown.
We enter a strange no-man's-land, a world between worlds, a zone of crossing that may be
desolate and lonely, or in places, crowded with life. You sense the presence of other beings, other
forces with sharp thorns or claws, guarding the way to the treasure you seek. But there's no
turning back now, we all feel it; the adventure has begun for good or ill.

II INITIATION

1) Tests, Allies, Enemies

We Seekers are in shock — this new world is so different from the home we've always
known. Not only are the terrain and the local residents different, the rules of this place are
strange as they can be. Different things are valued here and we have a lot to learn about the
local currency, customs, and language. Strange creatures jump out at you! Think fast! Don't
eat that, it could be poison!
Exhausted by the journey across the desolate threshold zone, we're running out of time and
energy. Remember our people back in the Home Tribe are counting on us. Enough sightseeing,
let's concentrate on the goal. We must go where the food and game and information are
to be found. There our skills will be tested, and we'll come one step closer to what we seek.

2) Approach to the Inmost Cave

Our band of Seekers leaves the oasis at the edge of the new world, refreshed and armed with
more knowledge about the nature and habits of the game we're hunting. We're ready to press on
to the heart of the new world where the greatest treasures are guarded by our greatest fears.
Look around at your fellow Seekers. We've changed already and new qualities are emerging.
Who's the leader now? Some who were not suited for life in the Ordinary World are now
thriving. Others who seemed ideal for adventure are turning out to be the least able. A new
perception of yourself and others is forming. Based on this new awareness, you can make
plans and direct yourself towards getting what you want from the Special World. Soon you
will be ready to enter the Inmost Cave.

3) Ordeal

Seeker, enter the Inmost Cave and look for that which will restore life to the Home Tribe.
The way grows narrow and dark. You must go alone on hands and knees and you feel the
earth press close around you. You can hardly breathe. Suddenly you come out into the deepest
chamber and find yourself face-to-face with a towering figure, a menacing Shadow composed
of all your doubts and fears and well armed to defend a treasure. Here, in this moment, is
the chance to win all or die. No matter what you came for, it's Death that now stares back at
you. Whatever the outcome of the battle, you are about to taste death and it will change you.

4) Reward

We Seekers look at one another with growing smiles. We've won the right to be called heroes.
For the sake of the Home Tribe we faced death, tasted it, and yet lived. From the depths of
terror we suddenly shoot up to victory. It's time to fill our empty bellies and raise our voices
around the campfire to sing of our deeds. Old wounds and grievances are forgotten. The story
of our journey is already being woven.
You pull apart from the rest, strangely quiet. In the leaping shadows you remember those who
didn't make it, and you notice something. You're different. You've changed. Part of you has
died and something new has been born. You and the world will never seem the same. This too
is part of the Reward for facing death.

III RETURN

1) Road back

Wake up, Seekers! Shake off the effects of our feast and celebration and remember why we
came out here in the first place! People back home are starving and it's urgent, now that we've
recovered from the ordeal, to load up our backpacks with food and treasure and head for
home. Besides, there's no telling what dangers still lurk on the edge of the hunting grounds.
You pause at the edge of camp to look back. They'll never believe this back home. How to tell
them? Something bright on the ground catches your eye. You bend to pick it up — a beautiful
smooth stone with an inner glow. Suddenly a dark shape darts out at you, all fangs. Run!
Run for your life!

2) The Resurrection

We -weary Seekers shuffle hack towards the village. Look! The smoke of the Home Tribe fires!
Pick up the pace! But wait — the shaman appears to stop us from charging back in. You have
been to the land of Death, he says, and you look like death itself, covered in blood, carrying the
torn flesh and hide of your game. If you march back into the village without purifying and
cleansing yourselves, you may bring death back with you. You must undergo one final sacrifice
before rejoining the tribe. Your warrior self must die so you can be reborn as an innocent into
the group. The trick is to keep the wisdom of the Ordeal, while getting rid of its bad effects.
After all we've been through, fellow Seekers, we must face one more trial, maybe the hardest
one yet.

3) Return with the Elixir

We Seekers come home at last, purged, purified, and bearing the fruits of our journey. We
share out the nourishment and treasure among the Home Tribe, with many a good story
about how they were won. A circle has been closed, you can feel it. You can see that our struggles
on the Road of Heroes have brought new life to our land. There will be other adventures,
but this one is complete, and as it ends it brings deep healing, wellness, and wholeness to our
world. The Seekers have come Home.