Amalgamated data for meaning is current as of 2017/10/17 18:53:44

Going Into the Light

drei88 posted a photo:

Going Into the Light

I love the way fog transforms the landscape, the mystical quality that makes familiar scenes seem new again. To me, fog is not just witnessed, but rather experienced. I don't want to just observe it through a window. I want to walk in it, to let it envelop me, and transform me as it does the landscape. As you walk through it, you realize that it's not static, but highly dynamic, it ebbs and flows, grows thicker here, thinner there, and can disappear in an instant. Fog at sunrise or sunset is an especially wonderful time; the quality of light is soothing to the eye and the soul. As I walked along this cemetery pathway, I was struck by a sense of stillness that seemed to underscore a feeling of reverence for the departed. I contemplated the scene for a bit before composing the photo. I really wanted an image that conveyed what I was feeling.

Σκέψεις - Thoughts

Gio.Di posted a photo:

Σκέψεις - Thoughts

Βασιλική Στριγγάρη - Vasiliki Strigari

faire son chemin

woolgarphilippe posted a photo:

faire son chemin

make your own path

A pin in a rope - It must have a meaning

CapMarcel posted a photo:

A pin in a rope - It must have a meaning

A pin in a rope - It must have a meaning

Επίσκεψη - Visit

Gio.Di posted a photo:

Επίσκεψη - Visit

Ανάσα - Breath

Gio.Di posted a photo:

Ανάσα - Breath

Βασιλική Στριγγάρη - Vasiliki Strigari

Ich sehe Blumen im Winter ~ I see Flowers during Winter - Flowers at the Grave without a Gravestone ~ Blumen am Grab ohne Grabstein - Hernalser Friedhof

hedbavny posted a photo:

Ich sehe Blumen im Winter ~ I see Flowers during Winter - Flowers at the Grave without a Gravestone ~ Blumen am Grab ohne Grabstein - Hernalser Friedhof

Schubert/Müller "Lentendroom Frühlingstraum" aus der Winterreise

Graves, which bear a personal meaning.
Part of My Memory-Photograph-Album.

My Cemetery sets:
*) Jewish Graveyards at Zentralfriedhof Wien (Central Cemetery Vienna)
*) Cemetery à la Christo
*) Living at the cemetery - Cemetery`s Fauna - Leben am Friedhof - Friedhofsfauna
*) Cemetery Waste Dump
*) Paseos at Austrian Cemeteries

DMC-G2 - P1550346 22.2.2013

Selfportrait ABESSE ADESSE - Snow Blanket, Left Shoeprint, Right Shoeprint, Grave without Gravestone ~ SchneeDecke, linker Schuhabdruck, rechter Schuhabdruck, Grab ohne Grabstein, besitzerlos - Hernalser Friedhof

hedbavny posted a photo:

Selfportrait ABESSE ADESSE - Snow Blanket, Left Shoeprint, Right Shoeprint, Grave without Gravestone ~ SchneeDecke, linker Schuhabdruck, rechter Schuhabdruck, Grab ohne Grabstein, besitzerlos - Hernalser Friedhof

Graves, which bear a personal meaning for me.

Part of: "ego - self portrait selfie autoportrait Selbstporträt Hedbavny Ingrid" / Selfportraits abesse adesse Me Absent Present

My Cemetery sets:
+) Jewish Graveyards at Zentralfriedhof Wien (Central Cemetery Vienna)
+) Cemetery à la Christo
+) Living at the cemetery - Cemetery`s Fauna - Leben am Friedhof - Friedhofsfauna
+) Cemetery Waste Dump
+) Paseos at Austrian Cemeteries
+) "res noscenda aquarius - notes: water at graveyards: collection: Cemetery Well, Watering Cans, Hoses - Notizen: Wasser am Friedhof: Sammlung Brunnen, Gießkanne, Schlauch & co"

DMC-G2 - P1550337 22.2.2013
#abdruck #schuhabdruck #sohle #schuh #shoe #print #decke #weiß #white

Stammersdorfer Zentralfriedhof Wien

hedbavny posted a photo:

Stammersdorfer Zentralfriedhof Wien

Graves, which bear a personal meaning.

Part of "res noscenda"

My Cemetery sets:
*) Jewish Graveyards at Zentralfriedhof Wien (Central Cemetery Vienna)
*) Cemetery à la Christo
*) Living at the cemetery - Cemetery`s Fauna - Leben am Friedhof - Friedhofsfauna
*) Cemetery Waste Dump
*) Paseos at Austrian Cemeteries

DMC-G2 - P1460718 8.8.2012

Exercises on light and melancholy: a silver blooming

Gabrieldietrich posted a photo:

Exercises on light and melancholy: a silver blooming

I try to see a flower
But what can I really see?
Maybe that all we
Are nothing than time
Maybe just an hour
Uncertainty

Huh - HTT

EX22218 - ON/OFF posted a photo:

Huh - HTT

Check railroad casualties where you live:
safetydata.fra.dot.gov/officeofsafety/publicsite/Query/Ca...

Locomotive Horn Signals
Ever wondered why the UP locomotives running on the track just down the block always sound their horns four times when approaching your street? Or heard a whole series of short whistle blasts and wondered what they meant? Horns are sounded for safety reasons – to warn of approaching trains. The following list "translates" some of those horn signals. The "o" indicates short sounds and "=" is for longer sounds. The General Code of Operating Rules (GCOR) contains information on horn use. These rules are frequently updated, and for the most up to date information, the sources of record are the GCOR, General Orders, Subdivision General Orders and Superintendent Bulletins.

Sound / Indication
Succession of short soundsThe whistle is sounded in an attempt to attract attention to the train. It is used when persons or livestock are on the track at other-than-road crossings at grade.

=When train is stopped. The air brakes are applied and pressure is equalized.
= =Train releases brakes and proceeds.
o oAcknowledgment of any signal not otherwise provided for.
o o oWhen train is stopped: means backing up, or acknowledgment of a hand signal to back up.
o o o oA request for a signal to be given or repeated if not understood.
= o o oInstruction for flagman to protect rear of train.
= = = =The flagman may return from west or south.
= = = = =The flagman may return from east or north.
= = o =Train is approaching public crossings at grade with engine in front.
o =Inspect the brake system for leaks or sticking brakes.
= o
Train is approaching men or equipment on or near the track, regardless of any whistle prohibitions.

After this initial warning, "o o" sounds intermittently until the head end of train has passed the men or equipment.

Horn Signals: A Proven Safety Precaution
On April 27, 2005, the Federal Railroad Administration (FRA), which enforces rail safety regulations, published the Final Rule on the Use of Locomotive Horns at Highway-Rail Grade Crossings. Effective June 24, 2005, the Final Rule requires that locomotive horns be sounded at all public grade crossings 15-20 seconds before entering a crossing, but not more than one-quarter mile in advance.

The pattern for blowing the horn remains two long, one short, and one long sounding to be repeated as necessary until the locomotive clears the crossing. Locomotive engineers will retain the authority to vary this pattern as necessary for crossings in close proximity. Locomotive engineers will be allowed to sound the horn in emergency situations consistent with the Final Rule.

A ban on locomotive horns in Florida was ordered removed by the FRA after it was shown that the accident rate doubled during the ban. The Final Rule preempts any state or local laws regarding the use of the train horn at public crossings. The Final Rule also provides public authorities the option to maintain and/or establish quiet zones provided certain supplemental or alternative safety measures are in place and the crossing accident rate meets FRA standards. Read more about the FRA Rule on the Use of Locomotive Horns

www.up.com/aboutup/funstuff/horn_signals/

The crime scene from above. 2016.

Dave Whatt posted a photo:

The crime scene from above. 2016.

For more on this one, you could have a look at my blog: davewhatt.wordpress.com/2017/10/15/the-crime-scene-from-a...

Ιθάκη - Ithaca

Gio.Di posted a photo:

Ιθάκη - Ithaca

The Gravestone without a Grave - At Ants Brooklet

hedbavny posted a photo:

The Gravestone without a Grave - At Ants Brooklet

Graves, which bear a personal meaning.

Part of My Memory-Photograph-Album.

My Cemetery sets:
*) Jewish Graveyards at Zentralfriedhof Wien (Central Cemetery Vienna)
*) Cemetery à la Christo
*) Living at the cemetery - Cemetery`s Fauna - Leben am Friedhof - Friedhofsfauna
*) Cemetery Waste Dump
*) Paseos at Austrian Cemeteries

DMC-G2 - P1500522 16.9.2012

The Evolution of Consciousness... the most essential elements of the human experience and drama. They manifest both as powerful images.

bernawy hugues kossi huo posted a photo:

The Evolution of Consciousness... the most essential elements of the human experience and drama. They manifest both as powerful images.

Myth and Psyche
The Evolution of Consciousness
This introduction to Jungian psychology was written by Donald Kalsched and Alan Jones as a companion to a photographic exhibition at The Hofstra Museum, in New York City, November 15 – December 19, 1986. The exhibit was presented by The Hofstra Museum with The Archive for Research in Archetypal Symbolism (ARAS). The exhibit was curated by Karin Barnaby and Annmari Ronnberg.

Introduction
Mythology is the most archaic and profound record we have of mankind's essential spirit and nature. As far back as we are able to trace the origins of our species, we find myth and myth-making as the fundamental language through which man relates to life's mystery and fashions meaning from his experiences. The world of myth has its own laws and its own reality. Instead of concepts and facts that make logical sense, we find patterns of irrational imagery whose meaning must be discerned or experienced by the participant-observer. Discovering these patterns of meaning is what Jung meant by the symbolic approach to religion, myth, and dream.
The mythic image is not to be taken literally and concretely as it would be in the belief-system of a particular religion, nor is it to be dismissed as 'mere illusion,' as often happens in scientific circles. Instead, we must approach myth symbolically as revealed eternal 'truths' about mankind's psychic existence — about the reality of the psyche. 'Once upon a time' does not mean 'once' in history but refers to events that occur in eternal time, always and everywhere. Any myth is very much alive today. Every night in sleep we sink back into that source of all mythological imagery, the unconscious psyche — the origin of dreams. Many of our games have their roots in mythology and much of contemporary art, literature, and film is shot through with mythological themes.
The comparative method is the basic key to a symbolic understanding of mythology. Through it we discover certain patterns which recur in widely varying cultures separated by an immensity of both distance and time. Jung called these underlying patterns 'archetypes' from 'arche' meaning primordial, and 'typos' meaning typical. Archetypal images embody the most essential elements of the human experience and drama. They manifest both as powerful images, and as dynamic behavioral patterns. They are a repertoire of instinctive human functioning, analogous in our species to the instinctive impulse that impels, say, the Baltimore Oriole to build a beautiful teardrop nest, or Salmon to return to the streams of their birth. The generality of these images result from recurrent reactions of human beings to situations and stimuli of the same general order, repeated over thousands of years.
The archetypal images represent several basic stages of the life drama symbolized by the Hero myth. They lead from an initial stage of unconsciousness before the ego has awakened, through various stages of heroic struggle, to a final state of 'wholeness' or integration when life has reached its full potential and a relationship between the human and divine has been reestablished. Jung called this process 'individuation,' the process of becoming the true individual that one really is. This 'true self' Jung felt to be the dynamic factor in the unconscious of each individual. It represents the central archetype of order and wholeness among the other archetypes. Jung called it the Self.
The Original Embryonic State
In the beginning of many creation myths is an image of an original state of perfection, wholeness, and beatific containment. This is often represented as a containing circle, cave, pool, or sphere. The predominant archetypal symbol is that of the primordial Earth Goddess — the Great Mother with her nourishing and protective womb. Many other symbols express this archetype. Anything large and embracing or containing, such as a vessel, that enwraps, shelters, and preserves something small and fragile partakes of this 'primordial mother' One very common symbol is the uroborus, the snake with its tail in its mouth. These symbols express a paradisal state prior to any degree of self-sufficiency and autonomy. The Garden of Eden, and the Golden Age when mankind lived in union with the gods, partaking of divine fullness and totality, are other common motifs of this psychological condition. In the biological life of the individual this symbolism corresponds not only to the pre-natal gestation of the embryo in the mother's uterus, but to the state of the newborn's total dependence upon the mother. Psychologically, these symbols express the stage when the ego is only a potential, or when the ego is dominated by the universal instinctual patterns of human response to the world, or a condition when little or nothing of a uniquely personal value is expressed by the individual.
Separation, Creation, and the Birth Of Consciousness
Comparative mythology teaches us that there is always a creative tension or urgency in the original embryonic state which leads to trouble. The great uroboric round breaks open and light is born into the world. A typical personification of this impulse is the snake that tempts Eve to violate her passive containment in the Garden, or the shadowy figure or animal in Fairy Tales that tempt the hero or heroine to break the status quo and do something 'evil,' i.e., individual. Such acts result in expulsion from paradisal condition. The protection of childhood, as well as the contentment with the past or with what has been achieved, are types of a paradise that are lost when life calls for a new adaptation.
This process begins with a cataclysmic separation. In myth it is often imaged as the separation of the world Parents. Father Sky and Mother Earth hold each other in an embrace and the world is left in darkness. The children born between them must thrust them apart, despite their parents' protesting cries and groans. Only then does light enter the world. This light symbolizes consciousness. Only in the light of consciousness can man know. Yet the acquisition of consciousness is a Promethean act subjecting the hero to the danger of inflation and retribution. For stealing fire from the Gods Prometheus was chained to a rock where an eagle ate his liver every night; when Icarus flew too high on his man-made wings, their wax melted and he plunged to his death in the sea. As a bearer of light, the hero is willing to face these dangers, despite the awareness of his aloneness, individuality, and mortality, in order to carry development further.
However, once the apple is eaten the world falls into opposites, and 'good' and 'evil' are assigned their place in the world. The Great Good Mother shows her dark aspect, the hateful or Terrible Mother, while the creative Father now sits opposite the Destructive Father, and brothers kill each other in the name of love, and the world is alternately either an enchanted or persecutory place.
The Hero Myth: Birth, Call, Journey
The hero myth symbolizes that personality formation occurs only through struggle, suffering, and sacrifice. The hero's triumphs and defeats are the paradigms of the individual's confrontation with the challenges of his or her own individual life — no matter how mundane or exalted. The birth of the hero usually occurs in humble surroundings such as a manger or cave, but it is always extraordinary in some way. Often there is a special light around the child, or the child is perceived to be a threat to the King. Frequently, the hero has two fathers — his personal father and a 'higher' father. Often the mother is a virgin, and the hero's conception is of divine origin. The hero thereby inherits a dual nature. He is a human being like everyone else, yet at the same time he feels himself to be an outsider, a stranger to the community. He does not fit in, and discovers within himself something that sets him apart, such as his prophetic powers, healing abilities, or creative powers. These lead him to extraordinary deeds.
The heroic adventure often begins with some message or 'call' from a miraculous source. A frog talks to the princess, or Moses confronts a burning bush, or an empty rice bowl floats upstream (Buddha), or there is an annunciation in a dream. The call often comes at an important moment. Old life values have often been outgrown and a certain sterility has set in. Parsifal's quest for the Holy Grail was set in motion by the Fisher King's realm having become a wasteland. Whatever its form, the call awakens the hero to his or her special destiny.
The Hero Myth: The Dragon Fight and Redemption of the Feminine
In the fight with the dragon the hero battles the regressive forces of the unconscious which threaten to swallow the individuating ego. The forces, personified in figures like Circe, Kali, medusa, sea serpents, Minotaur, or Gorgon, represent the Terrible side of the Great Mother. The Hero may voluntarily submit to being swallowed by the monster, or to a conscious descent into Hades so as to vanquish the forces of darkness. This mortifying descent into the abyss, the sea, the dark cave, or the underworld in order to be reborn to a new identity expresses the symbolism of the night-sea journey through the uterine belly of the monster. It is a fundamental theme in mythology the world over — that of death and rebirth. All initiatory rituals involve this basic archetypal pattern through which the old order and early infantile attachments must die and a more mature and productive life be born in their place.
The mythological goal of the dragon fight is almost always the virgin, the captive, or more generally, the 'treasure hard to attain.' This image of the vulnerable, beautiful, and enchanting woman, guarded by and captive of a menacing monster gives us a picture of the inner core of the personality and its surrounding defenses. The hero's task is to rescue the maiden from the grasp of the monster and, ultimately, to marry her and establish his kingdom with her. This dragon fight and liberation of the captive is the archetypal pattern that can guide us through those major transitional passages in our personal development where a rebirth or reorientation of consciousness is indicated. The captive represents the 'new' element whose liberation makes all further development possible.
In response to the call the hero undertakes a journey, usually a dangerous journey to an unknown region full of both promise and danger. Often the journey is a descent. Sometimes, as with Jonah, Aeneas, Christ, and Psyche, it is a descent into the depths — the sea, the underworld, or Hades itself. Always there is a perilous crossing. Sometimes the faintheartedness of the hero is balanced by the appearance of guardians or helpful animals that enable the hero to perform the superhuman task that cannot be accomplished unaided. These helpful forces are representatives of the psychic totality that supports the ego in its struggle. They bear witness to the fact that the essential function of the hero myth is the development of the individual's true personality.
The Goal of Individuation and Its Symbols
The successful completion of the hero drama forges a relationship between the psychic opposites which split apart at the birth of consciousness. The major symbols for this synthesis are various forms of the Coniunctio Oppositorium or Mandala in which the original wholeness is now re-established but on a higher, more differentiated level. In the images of King and Queen united in marriage, or male and female united in the form of the androgyne, or geometrical opposites paradoxically united in the 'squared circle' or life and death come together in the mysterious image of the immortal God suffering a mortal wound, the integration of the opposites within the personality are symbolized. Additional symbols of wholeness are the elixir of immortality, the pearl of great price, and the divine child, representing a life-transcending potential for future growth.
The hero myth tells us that the ego's courage to suffer the burdens of fear, guilt, and the conflicts within the personality — the willingness to be crucified on the cross of one's own doubleness and to hold this inwardly — is the only way God and man can be reconciled and drawn closer together. The original unity of God and man, as in the Garden, is broken when the ego aspires to consciousness. The ego is then banished to a world full of opposites which war with each other within the personality, as brother falls upon brother in war and devastation. But into the chaos is born the child of light, the hero, whose struggle can forge an everlasting relationship between male and female, light and darkness, life and death, God and man. This is the promise, the Ring, the Covenant, the Flaming Rainbow Bridge which can unite the human and divine in the inward depths of the human psyche.

www.cgjungny.org/d/d_mythpsyche.html

The biblical story of Adam and Eve in the Garden of Eden (Genesis Chapters 2-3) is foundational to our Western culture and has influenced the upbringing and psychology of all of us, whether we realize it or not.Mythologists as well as many biblical scholars recognize the story as being in the genre of myth, which makes it appropriate to analyze it from the perspective of depth psychology, among other approaches. Indeed, as Joseph Campbell concluded, “This story yields its meaning only to a psychological interpretation” (2001, p. 50). Further, Carl Jung (CW 9.2, para. 230) had already written that “cosmogonic myths are, at bottom, symbols for the coming of consciousness.” But the literature about the Eden story taking such a psychological approach is scant, largely due to traditional and problematic gaps and tensions between academic disciplines. My recent book, The Mythology of Eden, is in part an interdisciplinary effort to take on this fascinating and important task and advance our knowledge on the subject. Below I distill some of my findings from this approach to the Eden myth, and I hope they break some new ground: The Story as Told.In the story, Yahweh warns Adam (before Eve is created) not to eat from the tree of knowledge of good and evil, or he will die that very day. In many mythologies and religions, including traditional Canaanite-Israelite religion, sacred trees have been thought of as conduits for connecting with and directly experiencing the divine, whereas the Eden story’s author insisted upon a covenant (contract) relationship between the divine (Yahweh) on the one hand and the human (earthly, profane, non-divine) sphere on the other. In the ancient biblical world, one way to experience the divine was to partake of the fruit or other produce of the sacred tree or plant, thus imbibing the essence of the divinity represented by or immanent within the tree, but this practice was condemned in the Bible.When Eve was tempted by the serpent to eat the forbidden fruit, she decided to eat it for various reasons, but mainly because she desired wisdom (Gen. 3:6). This purpose was realized when, immediately after Eve and then Adam ate the fruit, “the eyes of both were opened” (Gen. 3:7), and Yahweh remarked (to other divine beings), “See, the man has become like one of us [deities], knowing good and evil” (Gen. 3:22). The questions become: What kind of knowledge/wisdom did Adam and Eve acquire, and what kind of transformation did these archetypal humans undergo? Both relate to the psyche.

The Creation of the Cosmos from ChaosIn ancient Near Eastern creation myths, there was no such thing as creation from nothing. Before the creation, there was always a formless watery substance characterized as “chaos” (see, e.g., Gen. 1:1) because at that stage no time, space, or other order existed. The same is true before the beginning of creation in the Eden story (a separate creation story from that in Genesis 1, by a different, earlier author), only a different metaphor for chaos was used, that of a desert wasteland (Gen. 2:4-5). The ordered cosmos is created like a bubble within the surrounding chaos and is bordered by the solid firmament above and the ground below, as shown in Diagram 1 below. The cosmos (including humans) is made of the same substance as chaos; the only difference is that it is ordered, has multiplicity, and the things created have names given by the creator decreeing their function and destiny.This motif of creation from chaos was universal in the ancient Near East and common around the world. Why? Marie-Louise von Franz (1995, pp. 2-4) explained that this is a natural result of our psyche experiencing its own ego-consciousness coming into being as “world-becoming.” As far as our psyche is concerned, our becoming aware of the world and the world coming into existence are one and the same. This process occurred not only when humans first developed ego-consciousness but also occurs in any young child’s development (as shown by developmental psychology) and in the life of adults, such as when we wake up in the morning from an unconscious state and order falls into place. Our unconscious has no sense of space or time and little sense of order; it is indeed chaotic and is experienced as such. Thus, the dawn of consciousness and our image of the creation of the world are parallel and related processes which throw up corresponding, related symbols. The notion of primordial chaos is a natural projection of an archetypal image that helps make the unknown comprehensible.Chaos as Evil and Sin.After the creation, chaos is not eliminated but continues outside the cosmos, always trying to encroach upon and undo the created cosmos. Particular things are “created” only to the extent that chaos is absent in them. But in fact nothing is perfect (except the initial Garden of Eden); each thing contains some element of chaos. In nature, chaos is manifested in natural disasters such as earthquakes, floods, and violent storms. Since humans are made of the same substance as the rest of the cosmos (recall Adam being formed from the ground and water), chaos can and will inevitably erupt in humans too. In modern psychological terms, this is the unconscious at work. In the biblical world, chaos was typically symbolized by a serpent, so when in the Eden story the serpent appears before Eve, the story’s ancient audience knew that chaos had entered the Garden and Eve’s mind. Her dialogue with the serpent represents this manifestation of chaos within herself and inner turmoil.In normative terms, chaos is viewed as bad (evil), while creation is good. After all, God had created the ordered cosmos from chaos, so that’s what He wanted. The cosmos in this respect has a teleological nature, which should be respected, maintained, and furthered. Chaos manifested in humans is what results in human evil (which the biblical authors said includes pagan religion). This is what Yahweh warns Cain about: “sin is lurking at the door; its desire is for you, but you must master it” (Gen. 4:7, by the same author as the Eden story). The same biblical author later described this chaotic trait within human nature as wild imaginings of the human heart (in the ancient world thought to be the repository of thought) (Gen. 6:5; 8:21), much like Eve’s imaginings during her temptation (Gen. 3:6). Later rabbinical writings characterized this trait as the yezer hara (“impulse to evil”), which became the standard rabbinical explanation for the origin of evil. The ancients did not understand the nature of the unconscious as such, but they did reach the insight that much of human behavior, especially evil behavior, stems from urges deep within and barely susceptible to our rational, conscious control.The Antidote: The Knowledge of Good and Evil, and the Law
Adam and Eve’s transgression in the Garden showed what happens if unrestricted human nature takes its natural course. The author had to provide a remedy. His antidote was twofold: the knowledge of good and evil, combined with the Law (here in its incipient form).First, the immediate result of eating the forbidden fruit was to acquire the godlike knowledge of good and evil. What this knowledge consists of has been the subject of much debate, but actually the Hebrew Bible and the Dead Sea Scrolls go fairly far in explaining it. In several passages they describe this knowledge as being acquired (or perfected) as one passes from minority to adulthood, at the age of 20 (e.g., Isa. 7:14-16). Thus, when the Hebrews rebelled against Yahweh in the wilderness of Sinai, those 20 or older (except for the virtuous Joshua and Caleb) were implicated in this sin and so were not allowed to enter the Promised Land (hence the long stay in the wilderness), while minors under 20 had no knowledge of good and evil and so were considered incapable of sin, and therefore would eventually enter the Promised Land (Num. 14:29-30; Deut. 1:39). The Hebrew Bible goes on to portray Israel’s best kings, David and Solomon, has having an extra dose of the knowledge of good and evil, which is described as wisdom and a power of discernment (2 Sam. 14:17, 20; 1 Kings 3:9-12, 28; 4:29-31).The above understanding means that Adam and Eve’s transgression did not rise to the level of sin, since they had not yet acquired the knowledge of good and evil. They were like minors without legal capacity. In fact, their transgression was the result of human nature already at creation having the aforementioned inclination toward evil, not the cause of our sinfulness, as claimed in the doctrine of original sin.Given that evil is a form of chaos and good is a manifestation of the divinely created order of creation, the knowledge of good and evil is nothing less than the godlike knowledge of how the universe works in terms of the dynamic between chaos and order, both at the cosmic level and at the human moral level of good and evil. This understanding was likewise an insight into how the human psyche works. According to the biblical writers, in principle the knowledge of good and evil is what can (if applied) enable humans to avoid sin and further good.As shown by the snowballing of human evil leading up to Noah’s flood, however, in practice merely having this knowledge was not enough for good to prevail. Humans needed divine guidance and assistance. It was for this reason that Yahweh bestowed on the Hebrews the Law, a set of ordering principles which, if followed, would result in good prevailing, as well as the greatness of the Israelite nation. Having the knowledge of good and evil would enable humans to understand and follow the Law. This scheme is shown in Diagram 2 below, presenting the knowledge of good and evil as a type of merism, encompassing these opposites at the cosmic and human level.The Psychic Nature of the Transgression.Having the knowledge of good and evil enables humans to discern and understand both external and internal (psychic) reality, in particular pairs of opposites, symbolized by the opposites of good and evil but including others in the story such as male and female, and God and humans. Therefore, Adam and Eve’s acquisition of this knowledge constituted an enlightenment and transformation into a higher psychic level, that of full ego-consciousness. Before that, they were mired in a lower psychic state dominated by the unconscious that Erich Neumann (1954) famously called the “uroboros,” where all is one and there are no pairs of opposites (pp. 5-38). Yahweh’s warning that Adam would “die” upon eating the fruit, may well render this moment a kind of initiation scenario, with the old human dying and entering a new state of being. This transformation is what made humans responsible and accountable for their actions (especially before God), truly capable of sin or of good, and ready to act in the real world. That is when Adam and Eve exited the Garden. In psychological terms, they were not driven from the Garden but grew up and walked out on their own. As Joseph Campbell explained, “The Garden is a metaphor for the following: our minds” (2001, p. 50).Although no act of “original sin” occurred, the Eden story remains principally a story explaining human nature, in particular our psyche. Especially important is the story’s recognition of the role of chaos in the psyche, which today means the unconscious and especially the Shadow. As Jung recognized, “it is a frightening thought that man also has a shadow-side to him, consisting not just of little weaknesses and foibles, but of a positively demonic dynamism” (CW 7, para. 35). This chaos eventually came to be represented by the Devil. The author of the Eden story honestly brought out this psychic fact, and he did his best to fashion a way to deal with it. His remedy was the application of our knowledge of good and evil (an aspect of ego-consciousness) plus the Law.
What Does the Eden Story Mean for Us?In considering the relevance of the Eden story in today’s world, we must reevaluate the biblical author’s remedy and determine what our conclusions mean for us individually (spirituality, psychology), as well as socio-politically in terms of criminology, social policy, ethics and morality, education, religious doctrine (or abandonment thereof), and law. This complicated endeavor would take us far beyond the scope of this article, so I will end with just two points in this regard.
First, to the extent the biblical remedy involves conscious application of the knowledge of good and evil, this seems inevitably to involve, at least in part, ego-consciousness repressing and suppressing contents of our unconscious, which modern psychology has shown to cause still more problems.Second, historically, the biblical authors’ reliance on prophylactic laws to control human behavior has had mixed results. Further, such approach assumes that the human psyche is incapable of further change, even though it had transformed once before in the Garden. As a result, the prophylactic approach treats symptoms rather than the underlying problems, including evolved traits that once had survival value but which in many cases are now dysfunctional.
An alternative approach is to endeavor to transform the human psyche to a higher level, in which case the need for prophylactic measures and suppression and repression of the unconscious would lessen. Such is the approach, for example, being explored by Allan Combs (2009), the integral psychology movement championed by Ken Wilber (1996; 2000), and other progressive thinkers and initiatives. One means toward this end may well be spiritual practices giving a direct experience of divinity (however conceived), the type of approach condemned in the Bible but which resulted in the elevation of Adam and Eve’s consciousness.
www.depthinsights.com/Depth-Insights-scholarly-ezine/jung...

Κάποιος - Someone

Gio.Di posted a photo:

Κάποιος - Someone

Δεν ξέρω πώς, δεν ξέρω πού, δεν ξέρω πότε, όμως τα βράδια κάποιος κλαίει πίσω από την πόρτα.
Τάσος Λειβαδίτης

I dont know how, I dont know where, I dont know when, but in the evenings someone cries behind the door.
Tasos Livaditis

a door(way)

Neko! Neko! Neko! posted a photo:

a door(way)

The Gravestone without a Grave - Allotment at Ants Brooklet

hedbavny posted a photo:

The Gravestone without a Grave - Allotment at Ants Brooklet

Graves, which bear a personal meaning for me

Part of "res noscenda" / allotment, Ants Brooklet / Memory Photograph Album

My Cemetery sets:
*) Jewish Graveyards at Zentralfriedhof Wien (Central Cemetery Vienna)
*) Cemetery à la Christo
*) Living at the cemetery - Cemetery`s Fauna - Leben am Friedhof - Friedhofsfauna
*) Cemetery Waste Dump
*) Paseos at Austrian Cemeteries

DMC-G2 - P1500523 16.9.2012

Seeing Red

ioensis posted a photo:

Seeing Red

wes 1020

Wes Camino posted a photo:

wes 1020

He had her full, complete, and undivided attention. I don't know about you, but such an intense look makes me sort of uncomfortable. It is the look I get from my dog when he's telling me it is dinner time. No if's, and's, or but's about it. It is dinner time, now! Do such looks end after you are married? I would hope so. But, maybe not. Body language.

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