From the [Introversion entry] in the Jung Lexicon:
The individual's freedom of mind is fettered by the ignominy of his financial dependence, his freedom of action trembles in the face of public opinion, his moral superiority collapses in a morass of inferior relationships, and his desire to dominate ends in a pitiful craving to be loved. It is now the unconscious that takes care of the relation to the object, and it does so in a way that is calculated to bring the illusion of power and the fantasy of superiority to utter ruin.
GET WITH IT:
In a large gathering he feels lonely and lost. The more crowded it is, the greater becomes his resistance. He is not in the least "with it," and has no love of enthusiastic get-togethers. He is not a good mixer. What he does, he does in his own way, barricading himself against influences from outside. . . . Under normal conditions he is pessimistic and worried, because the world and human beings are not in the least good but crush him. . . .His own world is a safe harbour, a carefully tended and walled-in garden, closed to the public and hidden from prying eyes. His own company is the best.["Psychological Typology," ibid., pars. 976f.]
and for the extroverts among us… intro… I don't know what I am, and that's OK as Jung believed that introversion and extraversion were present in everyone, but that one attitude-type is invariably dominant. When external factors are the prime motivating force for judgments, perceptions, affects and actions, we have an extraverted attitude or type. I am an extrovert, fs.
Extraversion. A mode of psychological orientation where the movement of energy is toward the outer world.
These people are DECIDEDLY WITH IT:
Extraversion is characterized by interest in the external object, responsiveness, and a ready acceptance of external happenings, a desire to influence and be influenced by events, a need to join in and get "with it," the capacity to endure bustle and noise of every kind, and actually find them enjoyable, constant attention to the surrounding world, the cultivation of friends and acquaintances, none too carefully selected, and finally by the great importance attached to the figure one cuts.["Psychological Typology," CW 6, par. 972.]
From a lesswrong comment on Modafinil:
how many sick websites are there dedicated to this mang? keep em coming… people who say the internet is dead or that they miss the stumble upon era are just stuck inside The Platforms I increasingly realize
From https://jungiancenter.org/jung-on-the-transcendent-function/. A collection of Jung's descriptions about the transcendent function aka the cooperation of conscious reasoning with the data of the unconscious. This function progressively unites the opposites. Psychotherapy makes use of it to heal neurotic dissociations, but this function had already served as the basis of Hermetic philosophy for seventeen centuries.
The transcendent function does not proceed without aim and purpose, but leads to the revelation of the essential man. It is in the first place a purely natural process, which may in some cases pursue its course without the knowledge or assistance of the individual, and can sometimes forcibly accomplish itself in the face of opposition. The meaning and purpose of the process is the realization, in all its aspects, of the personality originally hidden away in the embryonic germ-plasm; the production and unfolding of the original, potential wholeness.
The whole process is called the ‘transcendent function.’ It is a process and a method at the same time. The production of unconscious compensations is a spontaneous process; the conscious realization is a method. The function is called ‘transcendent’ because it facilitates the transition from one psychic condition to another by means of the mutual confrontation of opposites.
Assessing aesthetic criteria in the evolutionary dungeon designer
By upgrading the individual encoding system and the fitness evaluation in EDD's evolutionary algorithm, we present three techniques to preserve and account the designer's aesthetic criteria during the dungeon generation process: the capability of locking sections for preserving custom aesthetic structures, as well as the measurement of symmetry and similarity in the provided suggestions.
Jung thought that the i ching was a great way to plumb the depths of the unconscious. Me too. I consult it maybe 5 times a year. It is amazing for revealing new angles or strategizing or introspecting. He also thought that synchronicity/chance was in direct contrast with Western notion of causality, chance being mentioned because in order to "generate" one of the 64 hexagrams, you traditionally toss yarrow sticks or some other randomization scheme. Synchronicity he defined as "meaningful coincidences that could reveal connexions (I just made that spelling up, Tylersian Lexicon forthcoming) to the unconscious." The foreward.
Nietzsche said that the role of the artist was to "produce supernatural shivers."
International Symposium on the Neurobiology of Music, FEAR TO PLEASURE from Biological Templates for Musical Experience:
The 18th century British philosopher, Edmund Burke, speculated that "sublime" aesthetic experiences (such as the experience of "awe") are related to the evoking of fear. Burke's speculations arose from informal observations, but modern neuroscience provides a more detailed and compelling account that is consistent with Burke's intuitions. This presentation discusses empirical research related to four major classes of emotional responses occasionally evoked by music: (1) frisson (characterized by chills, shivers, and piloerection), (2) laughter (characterized by what Provine has called "socialized panting"), (3) awe (characterized by gasping or breath-holding), and (4) weeping (characterized by tears, nasal congestion and laryngeal constriction). It is noted that these four responses closely resemble the four classic physiological patterns observed in vertebrate responses to fear: fight (defensive aggression), flight (withdrawl or escape), freeze (immobility) and submission (appeasement). An account is presented as to how musical passages might evoke such responses, and why the ensuing responses might be experienced as pleasurable.
I always wondered like how much visual stuff we miss when we are forced to watch 99% of things with subtitles due to the crisis that is audio mastering education or ability. Apparently, not much. From Measuring the impact of subtitles on cognitive load: eye tracking and dynamic audiovisual texts
In educational design literature, it is often taken as fact that subtitles increase cognitive load (CL). This paper investigates this assumption experimentally by comparing various measures of CL when students watch a recorded academic lecture with or without subtitles. Since the measurement of cognitive load is by no means a simple matter, we first provide an overview of the different measurement techniques based on causality and objectivity. We measure CL by means of eye tracking (pupil dilation), electroencephalography (EEG), self-reported ratings of mental effort, frustration, comprehension effort and engagement, as well as performance measures (comprehension test).
Our findings seem to indicate that the subtitled condition in fact created lower CL in terms of percentage change in pupil diameter (PCPD) for the stimulus, approaching significance. In the subtitled condition PCPD also correlates significantly with participants' self-reported comprehension effort levels (their perception of how easy or difficult it was to understand the lecture). The EEG data, in turn, shows a significantly higher level of frustration for the unsubtitled condition. Negative emotional states could be caused by situations of higher CL (or cognitive overload) leading to learner frustration and dissatisfaction with learning activities and own performance [16]. It could therefore be reasoned that participants had a higher CL in the absence of subtitles. The self-reported frustration levels correlate with the frustration measured by the EEG as well as the self-reported engagement levels for the subtitled group. We also found a significant correlation between the self-reported engagement levels and both the short- and long term comprehension for the unsubtitled condition but not for the subtitled condition. There was no significant difference in either short-term or long-term performance measures between the two groups, which seems to suggest that subtitles at the very least, do not result in cognitive overload.
When looking through Jung on i ching I came across a diagram that looked p sick:
It turns out it's Joseph Campbell's Hero's Journey diagram—reminding me of Alexander Propp, a Russian writer, who deliniated 22 stories that could describe all stories evar.
The original one was low quality so I reverse image searched it and discovered Loop Diagrams. Ironically, enough to do one's head—pshychologically—in. And out. And around. And inward. And Out. Here are some cool ones:
http://www.sunypress.edu/p-64-the-body.aspx
This book explores mind-body philosophy from an Asian perspective. It sheds new light on a problem central in modern Western thought. Yuasa shows that Eastern philosophy has generally formulated its view of mind-body unity as an achievement a state to be acquired—rather than as essential or innate. Depending on the individual's own developmental state, the mind-body connection can vary from near dissociation to almost perfect integration. Whereas Western mind-body theories have typically asked what the mind-body is, Yuasa asks how the mind-body relation varies on a spectrum from the psychotic to the yogi, from the debilitated to the athletic, from the awkward novice to the master musician.
from how to hug yourself
Brad Sagarin, Ph.D., writes regarding BDSM (but what seems to be broadly applicable too):
The results revealed that both bottoms and tops entered altered states of consciousness, but they entered different altered states. Bottoms entered an altered state called “transient hypofrontality” (Dietrich, 2003), which is associated with reductions in pain, feelings of floating, feelings of peacefulness, feelings of living in the here and now and time distortions. Tops, in contrast, entered the altered state known as “flow” (Csikszentmihalyi, 1991), which is associated with focused attention, a loss of self-consciousness and optimal performance of a task. We believe that these pleasurable altered states of consciousness might be one of the motivations that people have for engaging in BDSM activities.
Hugging is an experience of mutual vulnerability and reciprocal immobilization, as each hugger is restricting the other while being restricted themselves.
Avoid “dead eyes.” A virtual character’s eyes are especially important. Using eye tracking, we found that users fixate on the eyes before they consider other features in assessing a character as real or not real. This supports findings showing that people rate the realism and inconsistencies of human characters mainly based on the realism of the eyes. This also explains why skin makeup does not detract from animacy, in contrast with atypical eyes or the eyes of a dead person. This symptom of “dead eyes” is responsible for making artificial characters feel eerie and strange. Subtle features in the eyes communicate intentions, behavior, and well-being. These factors are essential in the assessment of and affinity for the depiction.
Research indicates that the uncanny valley triggers these feelings in humans to mark a potential threat or the risk of being infected with a transmissible disease.
Use stylization and childish features for stylization. Research in evolutionary aesthetics finds that humans respond positively to any aesthetic stimuli experienced as being conducive to survival and reproduction. That is why many designs, even if they are not human-like, can be aesthetically pleasing, as they may include features that suggest fitness. Participants in our studies and trained artists also often use childish features to increase affinity in their character designs. Children and infants elicit protective instincts and feelings of caretaking, which are the origin of social communities and mutual understanding. Humans have these feelings even toward beings not of their kind, which is potentially one reason why young animals, toys, and teddy bears are not in the uncanny valley. However, childish features should not be applied to a realistic adult, as they would be atypical. Features that evoke childhood in a positive way, such as snub noses and round head shapes, can also be deliberately used for stylization and to prevent the uncanny valley.
Given that empathy is a core principle in human-centered design approaches, it makes sense to enhance empathy with others through empathizing with oneself. This understanding is resonant with Eastern traditions of self-cultivation, which lead to self-knowledge and an egoless state of being, going beyond empathy to compassion [7].
Symmetry and smooth skin have been found to be the most important factors in physical attractiveness. Additional desirable features for virtual faces include healthy and natural skin tones, natural and realistic proportions, clear gender cues, and volumetric and healthy-colored lips. Interestingly, participants did not seek perfection. Most of the participants reduced details on the skin, but not completely. This finding is in line with previous work showing that slight imperfections are still more appealing than perfectly smooth skin or facial symmetries.
Anyone wanna start a cartel? From https://lacaniancompass.com.
On a video where The Undiscovered Self is being read quite possibly by thee most monotone audio book reader (?) evar. I say with so much respect ofc and a voice that makes me jump if I unpreparedly hear it. Anyway, the first comment on said video is a banger:
"Heed these words, you who wish to probe the depths of Nature: If you do not find within your Self that which you seek, neither will you find it outside. If you ignore the wonders of your own House, how do you expect to find other wonders? In you is hidden the Treasure of Treasures. Know Thyself and you will know the Universe and the Gods." -- Oracle at Delphi
The second vid however was a banger in and of its Daß ting an Sich own, but even cooler are the hundreds of comments detailing how each person discovered Active Imagination. See lexicon link above. here tiz, and here is the transcript whence I yanked this quote:
The events take place on the imaginative level, which is neither conscious nor unconscious but a meeting place, a common ground where both meet on equal terms, it gives rise to the transcendent function, the Self, that stands as the synthesis of the two opposites.
And here are some ppl talking about it:
Check out this extremely yuge lexicon of every Jung word ever uttered (you'd think), but actually his core ideas, which, fruitful as he was, are legion.
Literally, "conjunction," used in alchemy to refer to chemical combination; psychologically, it points to the union of opposites and the birth of new possibilities.
A psychological process in which the personality is partially or totally dissimilated. (See also participation mystique and projection.)
Identity is responsible for the naïve assumption that the psychology of one man is like that of another, that the same motives occur everywhere, that what is agreeable to me must obviously be pleasurable for others, that what I find immoral must also be immoral for them, and so on. It is also responsible for the almost universal desire to correct in others what most needs correcting in oneself.
An archetypal motif based on overcoming obstacles and achieving certain goals.
We r all heroes in some sense, those of us that attempt to do the coniunctio, or self-overcome, or integrate the opposites, or even not those people too probably. Anyone who lives the examined life? Lucky me, I kept browsing through the lexicon after trying to formulate who was and was not a hero et voila:
In myths the hero is the one who conquers the dragon, not the one who is devoured by it. And yet both have to deal with the same dragon. Also, he is no hero who never met the dragon, or who, if he once saw it, declared afterwards that he saw nothing.
Equally, only one who has risked the fight with the dragon and is not overcome by it wins the hoard, the "treasure hard to attain." He alone has a genuine claim to self-confidence, for he has faced the dark ground of his self and thereby has gained himself. . . . He has acquired the right to believe that he will be able to overcome all future threats by the same means.["The Conjunction," CW 14, par. 756.]
The hero's main feat is to overcome the monster of darkness: it is the long-hoped-for and expected triumph of consciousness over the unconscious.[The Psychology of the Child Archetype," CW 9i, par. 284.]
Abyssal revelation:
Mythologically, the hero's goal is to find the treasure, the princess, the ring, the golden egg, elixir of life, etc. Psychologically these are metaphors for one's true feelings and unique potential. In the process of individuation, the heroic task is to assimilate unconscious contents as opposed to being overwhelmed by them. The potential result is the release of energy that has been tied up with unconscious complexes.