Of Lex Nova (safeguarded dreams)

One of the earliest idealizations I remember having, or, at least, the earliest affirmation of my ambitions as close as it is today, is the idea of Duodominium. Basically it represents the idea of preventing myself from lurking around corners but exploring the other extremes. For instance, having the technique of a classical painter but also a child’s imagination. And along with it, there are other ideals I’ve been creating for my dreams and that I’ve been recalling and give me some enthusiasm.

I feel a little enthusiastic because now these dreams are coming true. At least I’m having my story here and I am developing my drawing skills and there are so visions in my head and there’s the chance for me to try all these things I’d always dreamt of doing. All these ideas of pace and art, of interactions and combinations. All the things I felt could be improved if I had the chance to do all these things. I want to study anthropology and art and psychology and physics and I want to see what is coming out of it. I want to explore all logistics of tools and medias to create the greatest experience.

What motivates me to go on is that I see things no one seemed to be doing and I wanted them to be done (sometimes when I see someone coming with an idea I had I feel a mix of joy and jealousy but also a sense of having one less thing to do). And as I’m getting the chance to do them, I don’t want to forget all these ideals I used to have. There are so many details I see missing in the works of art I consume that I don’t want them to be ignored as my own work becomes something that is just, well, without these elements that are so inherently mine.

I don’t want to abuse latin names because their amazing aura of imposing glory would shine out if I had so many of them, but once in a while some deserve it, so I’m calling this the Lex Nova, a certain refreshment of this delta-retrieved treasures from my deep past (Duodominium being one of these, maybe all them could be latin names so I get them in a pattern too?). This name is a delta anchor for me not to forget the intense creative ideals I used to have, that now as a grown up I might easily forget as these things are in my hands. The mindtrap I need to fight here is Dreiberg’s Blindfold, the routinely behavior that dries out all the passion, but I won’t ever forget why I am here.

Of unimagined new worlds and cultures

It’s so wonderful to be back with this new force and energy again. I feel renewed and ready to go on with all my dreams. It’s like I had a cleansing bath and the embracing wind is more zephyrous than ever. I don’t want to lose a single moment of this while I free my soul to run around the world tasting everything the same way an imprisoned person now rediscovers the pleasures of the world.

The whole world out there is calling for me. All these countries, all these names and cultures. All spices and stuff to be tasted and absorbed. And my dreams regurgitate whole new figures, whole new worlds and cultures and possibilities of creation. Hephaestus’ joyful laughter can be heard everywhere again.

While at it I wonder what it takes for a new world and culture to be created? I mean a completely new one, not the old trick of simply going surrealist or trying meso-american inspired cultures. No, it’s something that could be a civilization like any other one in this world.

Is it the amalgam of combined cultures that can bring a new formation with an identity of its own? But what about the existing ones? Where did the chinese, hindu, slavic or irish people get their influences to interpret the world like they did? Was it the nature surrounding them being so influential or is there something else?

It seems this year I will have to go deep into anthropological studies.

Of biomorphic influences

Anthropology is one of the several areas I have so much curiosity and interest to learn and delve about. And the nice thing about this one is that it is distant enough from my current studies so that I will have new ideas, but at the same time, it has enough connections that it will open my horizons wider.

One of these anthropological ideas I’ve been thinking very roughly about is the way human cultures are so, so deeply influenced by the nature all around us. Earlier cultures had people literally connecting themselves to plants and animals. The simpler example is the native Americans using feathers to their outfit so to represent themselves as somehow related to the nature around them. But I don’t think it has disappeared even in our world.

All objects we develop have their shapes influenced by some element already present in our lives. It can be so subtle that it can be present in everything, from shapes of cars (VW beetles, as a clear example). Some car hoods I see seem to have some influence in the snouts of some animals, and even the front layout with the lights seem to emulate a creature. Do cars have two lights because in nature it so happens that virtually all eyed life forms have two eyes?

But the molds and symmetric lines of evolution that makes some animals and insects look so visually engaging also happen to influence us. It’s about how human mind follows natural patterns. It’s all around us, so those cultures more connected to nature make the individuals see themselves as part of it. Humans long to be delicate and beautiful like flowers or dashing and strong like lions. We long for being as imposing as imposing as mountains, or quiet like a gentle breeze licking the trees in the forest. Indeed, we seem to get involved with these allegorical quintessences. No wonder we refer to chaotic periods in our lives as storms and the peace afterwards as the clouds torn open to let the blue sky in - the caring mother coming to sooth her child.

But here’s one old question of mine… when is something a result of crests or just influence of sensors? I never got to actually think too much about it, as I can’t possibly get past this primordial question. I’d like to think of sensors existing prior to crests, but I don’t want to go ahead of the quintessential rope guiding me.

Of ideas, ideas and ideas

So I am really involved in this for a long time, this process of having ideas. There is a moment of quaint realization as I think about how much my life has been soaked with the notion of ideas. I am trying so hard to have ideas, and each month I must have one great idea. But what’s the deal with it? What even is an idea?

The kind of idea I use the most here is the, say, model ideas. They are those used to understand the world. That’s what I do the most in here, trying to see patterns so I can, um, foresee them and be prepared for them or something like that. And also I know it’s one of my objectives in here, I want to have ideas on how ideas work. But that’s so short of a use for something so wonderful: ideas are for everything.

One type of idea I’d like to be more specialized on is the tool-kind of ideas. They are used by those with a very practical view of the world, and they use their power of having ideas to solve problems. It’s the kind of idea that is practical and give the concept such a praise: they change the world. However, I know that the model ideas are very important too. If anything, the tool ideas aren’t worth a shit if the model is flawed.

Other type of idea seems to be the aesthetical idea. It’s the use of visuals and creation of new shapes. It’s kind of the world of fiction and abstract ideas. And from those three, apparently the aesthetical ideas are the most superficial, but one thing I’ve ever learned is how arts, for instance, have the power of creating enthusiasm and creativity. It seems to enhance statistics around the matter of being stimulated to have ideas.

And that is one very short thought on it. Is it just three classes of ideas? I don’t think this will be like the gems when they could get to hundreds, but there could be more, of course (mainly subdivisions). It took some 15 minutes to think of it and I know it’s pretty underdeveloped, but I feel this is good as the beginning of this amazing new thread that will apparently order and focus my power to generate ideas.

Of creativity (a lifetime pursuit)

Strange how I should be thankful to those beatings I’ve been having. Perhaps one big punch is needed for us to find our way. If things didn’t happen the way they did I think this day I wouldn’t be forced to find my focus and purpose in life. And I suddenly created something for me to hold on while everything is being washed away.

I want to deal with all that has to do with creativity. That’s what I think my purpose in life is and I accept it with my open arms. This is what I want to pursuit for the rest of my life and I don’t need to think twice. This is to be my area of mastery. I want to know all there is about creativity, I want to learn and teach how creativity works. I want to be an expert on the subject.

First thing first, I need to prove myself creative. I must learn it well and convince people I know what I am doing so they will listen to me. And that must be the first part of the program. This is the learning period, I must take all I can for knowing how creativity works.

Creativity is a broad area, so I want to focus in this area of visual creation. There’s also the creativity that’s involved with breaking rules and paradigms and dogmatic impositions. I want to work on that too. I am not one of these quick-thinking people who come with witty playwords or instantaneous resolutions, but I don’t think I am less a creative person because of that (as I always assumed).

And here I also want to study in academic terms. I want to get involved in psychology and read a lot about the cognitive process and how the mind works. And I can also use all my areas of interest such as anthropology and pedagogy. The most amusing and relieving part of it all is that it’s not nearly close to a confining commitment I would expect it to be. It doesn’t exclude my interests, but instead it even wraps everything up in one amazing ordering droplet.

Of a melody for recovery

All hymns for Hephaestus have the same element in common: they are usually euphoric and overwrought pieces of music. And one of these days when I was feeling the triumphant return of my main flame, and there was this piece of music coming to my mind. It wasn’t RMUS neither QMUS, because I knew exactly which song it was.

It was Gate XIII by Angra. It’s one of my favorite types of songs, an instrumental orchestrated medley with all themes used along the album. But it was a small part of the song that called my attention. There’s a moment when the song seems to come to a still, and suddenly there’s this arpeggio bringing back all the energy of the song.

This is what I mean by allegorical quintessence. This is how the feeling of the incoming power of Hephaestus is like in the shape of music. It’s the feeling of the burning flame, of recovered passion, of life that returns.

Of Fictionalization

As unfortunate as it was to keep finding forgotten Mental Abilities for the inventory, it’s at the same time fortunate that my arsenal is growing wider. There are several of them I wish to talk about so it can make for an updated inventory, but while I keep finding them, I’ll talk about this little boy.

This is an ability I’ve once mentioned a long, long time ago, in a September 2011 post called “invading waves and magic defensive skills”. I see I’ve called it “Protection Rail”, but when I think about it, it’s seems to be more like a class than the skill itself. During the whole of 2012 it seems I had it forgotten, but now I’m delta-retrieving it and boy I should have done it before.

As it happens, I see my situation happening to some character. It’s some sort of schadenfreude thing, though it isn’t as wicked. It’s hard to explain the feeling, but it could be like the feeling it can happen to someone else and I am not alone experiencing this. It feels silly that I am so lonely I need to resort to this, but then again art wouldn’t exist if we had simpler ways to catharse our sorrows away.

And the interesting part is that it happens through spells, and not a decision of analyzing my situation and bringing it fictitious. It’s instantaneous and it’s very, very effective. After all, the exact feeling as I know is there, outside me. By telling others I would have to express it through inaccurate words and their recognition wouldn’t possibly be the same.

Though it usually happens through this instant spell that can be the simple act of passing my bad luck, blunders and bereavement to this poor fictional ragdoll, I can also try to do it more manually, and I believe I can also develop it to become a more elaborate metaphor, like changing scales from individual to national. If I understand the allegorical quintessence a little better, I’ll be able to do wonders.

I won’t ever let myself forget it, because this trick is a key mental ability to both live and survive life. That is, it doesn’t simply lighten my soul, but brings me creative material. It’s like finding a way to make waste to become a source of energy. It’s both a nuclear victory and converging advantage.

Of Goldilocks Period

I’m afraid this could bring another series of thoughts that will mess up my thoughts more than helping , but I was thinking about “lifeframes”. I don’t know whether it’ll lead me anywhere, but if anything, this period of life I’m about to mention could be inside it.

There is a period in life when time doesn’t seem to exist, it’s just a long period of similar patterns and steady routine that indicate a generation inside one’s life, and I’m calling this the Goldilocks Period. “Remember the time when we used to…” or “I’ll tell you a tale that happened in the golden days of…” are examples of this. It’s about the memories of times “when we used to go on adventures in the neighborhood/nearby woods”, or “when we used to hang out and drink and do shit until it was dawn”, or “when we used to go to parties and get the ladies”.

In entertainment it is about a certain status quo of the story that is the moment mostly recalled. It’s about that core routine that is remembered in definitions. There is a time when the Rebel Alliance stands a real annoyance to the Empire, and their sabotaging of imperial facilities spans through most of the trilogy.

Tolkien’s grounds are interesting to understand this. In The Hobbit the whole journey doesn’t change from beginning to end. It’s all the same ensemble, there’s no loss or any other massive change in the plot line, it’s all about the routine of getting in trouble and being rescued by Gandalf. But in Lord of the Rings the Fellowship of the Ring travels to Mordor. And the breaking of the fellowship, for instance, brings an end to that period and starts another period when all members are scattered around middle-earth, though this one is already too unstable to be considered a Goldilocks Period. (there’s a lot of unresolved subtleties in there).

It can also be these glorious days of the past of characters that was never explored but was always mentioned. That can be explored when the series is over, like the period between the first Metroid and the second one, because after that there’s only one metroid left and there are not many possibilities of stories as in that period.

Here in this blog it can be this time when I used to have the routine of having those days when I felt so lost and I was trying to get answers and I would go around writing down every thought I had wherever I was, or then getting home and turning off all lights and staying up until late at night writing and write thirty posts every month, and working with my stringed story. And when I think about it, it’s still happening already, I’m in an never-ending quest of developing the underdeveloped, and that’s one interesting thing, the way the Goldilocks Period is felt mostly when it’s over.

Of fluent exploration

There is one of my earliest ideas, or, to be more precise, one of the ideas I first developed in this place that I remember being quite useful. It’s the idea of template (used to be formulation if I’m not mistaken) and fluency, but eventually they were put into a drawer as I started thinking about other matters.

Somehow they came back without an actual delta travel and I was lucky to make the connection between the emotional response and the original name. It could easily have been a returning quintessence, but it wasn’t, thanks. I am glad the idea feels solid enough, even an early idea like that, so I feel nice to have it back. Plus, now I can use it with these new ideas I’ve been having, like the ideas of vertices.

So I need a template, which is the basic formula, and fluency is how I can explore the structure of vertices. It’s about how I am getting more comfortable with all these vertices I have so I can start juggling with them and even adding some more vertices to the table. It’s when I feel comfortable with words and going with this amusing alliteration that is just getting easier. It’s about dealing with shapes more easily, and drawing things with more comfort to explore them and see new combinations when getting the simple template right was a struggle already.

There’s one awkward realization I’ve been having, though. It’s how I feel how fluency feels really distant sometimes. It’s about the lack of mind-enhancing trances, and the way I can feel my skills feel incredibly unstable. I hope it’s just part of the spinning process, though. Maybe it’s a matter of practicing until these peaks are aligned…

Of coreless learning

Themes keep being repeated in here against my will. It’s just natural how I end up thinking of allegories and layers, and I think I wouldn’t ever noticed I had a taste for these subjects if it wasn’t by simply writing down everything coming to my mind and noticing this is what is always coming out of it.

Although it could be annoying to keep talking about it, I know there’s probably something good to eventually come out of it if I am just careful enough not to repeat myself but always try to add something new to it. So here I am trying again to rehearse my thoughts on one of these subjects that are always around here (and maybe it starts becoming something more than scattered ideas connected through a feeble needlework).

I am thinking about learning something not only as the steps, but knowing the importance of the tools and techniques used. One has to avoid superficial learning, avoid learning the repetition of a formula without knowing its core. It has to do with knowing something from the inside out. That’s what makes mathematics so difficult for me to grasp them. They give me this formula, and I have to use Pi, but why that again? What is Pi being used here? (No one has ever really bothered explained why the hell it is that important) What do these symbols stand for? What do they represent and why are they here?

This can be a mindtrap, as it doesn’t represent learning at all, and it shows by how easy it becomes to forget them (I don’t remember almost any complex math formulas anymore). One can learn how to cook something but only know how many eggs and how much water and oil the recipe indicates. If something goes wrong or they need to change dimensions, one needs to know what will fix the problem, knowing that wheat strengthens the dough or eggs glue things together, for instance (I’m not much of a cook, but you know what I mean,).

One who doesn’t get the grasp of this core, the important undercurrent characteristic behind logistics, will probably get overwhelmed by the situation, whereas knowing of the importance of seeing sprites out of everything enables the individual to pretty much throw in working solutions.