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Perception - Blog Posts
Come love, make me better than I was.
Come teach me a kinder way to say my own name.
— Andrea Gibson, from “Good Light,” Lord of the Butterflies
i’m beginning to question people’s perception of me. it sucks that i can’t know for sure. all i have to rely on is actions and what they tell me. who knows if it’s true?
plopped into cool water, my manus flattens against the stone below as a bowl upturns like a dome above.
my marble eyes ring with the warning of moonlight, my skin glistens, slick with sage-
i peer at my greenhouse, pads reaching to press the convex glass, curiosity caressing my face-
but comfort follows me beneath the water, serenity tying me back to stone.
then steam clouds the cage; lids close off sight, then sound- suddenly, silenced, i muster one last croak. poetrycommunity
death by comfort // the boiling frog
I have given up on everything except the believe, in thyself as if am anything special
there is beauty in building up something, love in watching it grow, Satisfaction when it stands and experience when by fate it fails.
THEY SAY THAT the weak have no right to say no but, who affirms that there yes is not a NO ?
fate again.
The heart goes cold.
The heart grows old.
The repetition of moments be it trembling or joyous.
The heart loses it all in the end.
art by @kmcvisuals
Some say hope is a good thing, others all heartedly warn us against it. Country men , isn’t that life? that what frees some enslaves others and completely dismantles them out of existence.
art by @kmcvisuals
Some are young rocks, arrows, spears, barrettes and jackhammers cant penetrate throw them. Opposite, lies the intricates the roses of this world the fragiles. For people like these it needs not much, a word, a gaze or silence and everything is shuttered.
He felt like a pigeon unknown to him the time the cage could open up.
It did petrify him though,
that if he didn’t realize that it was his life he was consuming,
all possibilities pointed to a destruction of himself in search for an escape.
In this decorated room, my soul murmurs a prayer that at least this time, this manufactured happiness can last more than just a nights sleep and that I can forget all of myself without coming back the next day for another glassed antidote.
Every single person you know or who knows you has a different perception of you in their head, so no matter how hard you try to be perceived a certain way, not everyone will view you as such.
*So why not be the version of you that soul's always wanted you to be ?*🌸☘️
In many ways, scientific analyses of consciousness suffer from the same limitations and constraints as cosmological theories: right right at the outset, certain manipulations and observations cannot be carried out.
Retracing
The Nature of Reality: Exploring Consciousness, Perception, and Individual Worlds
Bashar has already addressed this question, explaining that everything we encounter is an intricate pattern of another being. In essence, we interact with patterns that are replicas of these beings. Since each individual exists within their own unique reality, creating their experiences by referencing others, even encounters with the same entity can lead to completely different stories, nuances, and actual events. This phenomenon is particularly evident in higher-density interactions, such as contacts with extraterrestrial beings. For instance, two people might be in the same place at the same time, yet report entirely different contact experiences.
My understanding of this concept is as follows: other consciousnesses exist, each experiencing their own worlds. Our Higher Self references these other worlds precisely according to our pre-incarnational intentions, thus creating our individual realities. These referencing processes are mutual; however, each person's reality is unique, resulting in similarities that are infinitely varied. For example, the world experienced by the person next to you might be set years in the past or future, or that person might not even exist in your reality.
This concept can be directly understood and applied through Neville Goddard's method of revision. For instance, you can alter someone's age, redefine your relationship with them, or change your shared history. This serves as compelling evidence that we are not sharing a common reality but rather referencing our own individual worlds in similar ways.
Moreover, when asked about the conspiracies currently unfolding on Earth, Bashar responded, "I'm not seeing what you're seeing. That doesn't happen in my world." This suggests that while Bashar's Earth may resemble our own in history and current events, it is, from the perspective of his people (the Essassani), a different world altogether.
The Lottery
I was never too fond of happily-ever-afters, and as I got older and learned how fictitious they were I became more annoyed by them as I felt, and feel, that they present a falseness that others allow themselves to remain within at the cost of others. But before the true fairy-tales of Cinderella or the Pillowman, the first story is Shirley Jackson’s “The Lottery”.
This story brings us more into a different perspective than most, like Samuel Jackson’s character in Unbreakable. We start off just seeing a small town coming together for this very important event, how this is an important event in this town and others big and small. While we don’t know what the event is and an entire town meeting ina square seems odd to us now, we know it used to happen and draw connections to how the children act the adults’ gossip, and the changing of the event over time. As the story continues, an undertone becomes more prevalent, young men are just starting to draw for their families, and a woman mentions about how fast time goes by, using the event as a marker and how some towns don’t participate at all.
What I love about this story is how much our perception changes as we learn more. We enter the story neutrally, then get excited and then try to hold onto that as we learn more. True artistry here comes from being able to challenge, surprise and have your reader’s perception and world be altered; and it is all down here.
The Lottery:
http://sites.middlebury.edu/individualandthesociety/files/2010/09/jackson_lottery.pdf
всё зависит от тебя
идя по дороге в дождливый и пасмурный день с любимой музыкой в наушниках, по неволе смотришь на других людей. старики нянчатся с внуками в колясках, дети, возвращающиеся из школ, бурно что-то обсуждают, подросток с хмурым, подобно погоде лицом, идёт с сигаретой в зубах, наверное, думает о чем-то очень серьезном.
кому знать, что у них сейчас в голове, о чем они переживают? каждый живёт только своей жизнью, у каждого свои проблемы и радости. нас тут миллиарды людей, на этой планете. стоит только задуматься, сколько же тогда мыслей у нас всех вместе, что вот уже мурашки по коже бегут.
а этот, например, ребёнок, который проходит возле тебя и улыбается, глядя на тебя так добро и чисто, он настолько о беззаботен и чист, словно пустая банка, заполняющаяся мыслями, эмоциями. ты даёшь ему одну бумажку, записку с посланием во взгляде.
может, это прозвучит глупо, но я скажу. многое зависит от тебя. и если ты сейчас так безгранично счастлив со своими друзьями, второй половинкой, знай, есть тот, кого грызёт одиночество и тоска, кто совсем уже потерял смысл жить. если ты когда-нибудь увидишь такого человека, не проходи мимо и подели с ним свою радость и разбавь тем самым его банку полную разочарований одной своей. самой маленькой, но самой жизнерадостной.
Imagination may lead us along a path of dreams and associations, transforming our thoughts in response to some perception; or it may focus on the presented object, transforming our perception in response to our thoughts. Just where wine is situated between these two exercises of our imaginative powers is one of the deep questions that all winos must ask, if they are to understand their dear companion. Is wine like daydreams or like art? Does it point inwards to our subjective impressions and memories, or outwards to the world – bringing order as Tintoretto, Wordsworth or Mozart brought order, by reshaping the objects of our perception?
R. Scruton, I drink, therefore I am
Chopin, Bach used human speech ‘cues’ to express emotion in music
Music has long been described, anecdotally, as a universal language.
This may not be entirely true, but we’re one step closer to understanding why humans are so deeply affected by certain melodies and modes.
A team of McMaster researchers has discovered that renowned European composers Frédéric Chopin and Johann Sebastian Bach used everyday speech “cues” to convey emotion in some of their most famous compositions. Their findings were recently published in Frontiers of Psychology: Cognition.
Their research stemmed from an interest in human speech perception — the notion that “happy speech” for humans tends to be higher in pitch and faster in timing, while “sad speech” is lower and slower.
These same patterns are reflected in the delicate nuances of Chopin and Bach’s music, the McMaster team found.
To borrow from Canadian singer-songwriter Feist, we “feel it all” because the music features a very familiar cadence or rhythmic flow. It’s speaking to us in a language we understand.
“If you ask people why they listen to music, more often than not, they’ll talk about a strong emotional connection,” says Michael Schutz, director of McMaster’s MAPLE (Music, Acoustics, Perception & LEarning) Lab, and an associate professor of music cognition and percussion.
“What we found was, I believe, new evidence that individual composers tend to use cues in their music paralleling the use of these cues in emotional speech.” For example, major key or “happy” pieces are higher and faster than minor key or “sad” pieces.
The team also discovered that Bach and Chopin appear to “trade-off” their use of cues within the examined music.
Sets with larger pitch differences between major and minor key pieces had smaller timing differences, and vice versa. This may reflect efforts to balance the cues to avoid sounding trite, Schutz explains.
Schutz and Matthew Poon, a Music alumnus from the Class of 2012, began analyzing a complete body or “corpus” of three 24-piece sets by Chopin and Bach several years ago, as part of an Undergraduate Student Research Award (USRA) project. Poon is now a graduate student at the University of Toronto.
The pair analyzed all 48 preludes and fugues from J.S. Bach’s Well-Tempered Clavier (Book 1); as well as all 24 of Chopin’s Preludes (Op. 28). The pieces were chosen based on their historical significance and enduring popularity amongst performers, educators and audiences.
In order to ensure the tonal areas of each composition stayed in their stated keys, analysis was confined to the first eight complete measures — excluding pick-ups — from each of the 72 pieces.
Previous research on musical emotion has often involved manipulating existing melodies and compositions, Schutz explains. For example, transposing a melody higher or playing a song slower than written, in order to explore changes in emotional responses.
The McMaster-led study built upon that work by exploring how Bach and Chopin used emotional cues in their actual work — music still performed and enjoyed on a regular basis, hundreds of years after it was composed.
Can the same research be applied to modern pop music? Schutz says yes, although it’s much easier to analyze classical music based on the availability of sheet music and detailed notation, he offers.