Ananta!

“To quote Gurdjieff again, "Life is real then only when I am." If normal (mechanical) consciousness consists largely of uncritical inferences, projections, glandular-emotional reactions etc. then what it perceives, in art or in life, will have many traits of dream, will it not? If consciousness is intentional (Husserl), then making an effort to perceive will make both oneself and the surround more vivid, more meaningful, more "real," perhaps?”
― Robert Anton Wilson, Coincidance: A Head Test

“The dissolving, uniting forces combine what to us have been incompatible: attraction with repulsion, darkness with light, the erotic with the destructive.  If we can allow these opposites to meet they move our inner resonance to a higher vibratory plane, expanding consciousness into new realms.  It was exciting, through my explorations some of which I share in later chapters, to learn firsthand that the sacred marriage or coniunctio, the impulse to unite seeming opposites, does indeed seem to lie at the heart of the subtle body’s imaginal world. One important characteristic of the coniunctio is its paradoxical dual action.  The creative process of each sacred marriage, or conjoining of opposites, involves not only the unitive moment of joining together in a new creation or ‘third,’ but also, as I have mentioned, a separating or darkening moment.5 The idea that “darkness comes before dawn” captures this essential aspect of creativity.  To state an obvious truth we as a culture are just beginning to appreciate.  In alchemical language, when darkness falls, it is said to be the beginning of the inner work or the opus of transformation. The old king (ego) must die before the new reign dawns. The early alchemists called the dark, destructive side of these psychic unions the blackness or the nigredo.  Chaos, uncertainty, disillusionment, depression, despair, or madness prevails during these liminal times of  “making death.” The experiences surrounding these inner experiences of darkness and dying (the most difficult aspects were called mortificatio) may constitute our culture’s ruling taboo. This taboo interferes with our moving naturally to Stage Two in the individuating process, a process that requires that we pass through a descent into the underworld of the Dark Feminine realities of birthing an erotic intensity that leads to dying. Entranced by our happily-ever-after prejudiced culture, we often do not see that in any relationship, project or creative endeavor or idea some form of death follows naturally after periods of intense involvement.  When dark experiences befall, we tend to turn away, to move as quickly as possible to something positive or at least distracting, away from the negative affects of grieving, rage, terror, rotting and loss we associate with darkness and dying. As”
― Sandra Dennis, Embrace of the Daimon: Healing through the Subtle Energy Body: Jungian Psychology & the Dark Feminine

“This concept is intuitive, and yet when we watch extremophiles, from emperor penguins braving the Antarctic chill to camels trekking over scorching sands, it’s easy to think that they are suffering throughout their lives. We admire them not just for their physiological resilience but also for their psychological fortitude. We project our senses onto theirs and assume that they’d be in discomfort because we’d be in discomfort. But their senses are tuned to the temperatures in which they live. A camel likely isn’t distressed by the baking sun, and penguins probably don’t mind huddling through an Antarctic storm. Let the storm rage on. The cold doesn’t bother them, anyway.”
― Ed Yong, An Immense World: How Animal Senses Reveal the Hidden Realms Around Us

“Without attention, the human sense of wonder and the holy will stir occasionally, but to become a steady flame it must be tended.”
― Huston Smith, The World's Religions, Revised and Updated