True creativity often starts where language ends.
How many of you had thought the body you inhibit as a “vessel or a crucible?” I related in the previous post to ““Democritus had Passion and Heat?” to the idea of “Passion and Creativity” as as things that relate to the heat?
Now you ask what the heck is this to mean?
Well I spoke briefly on the woodcuts in “Hermetic Ties: Art to Esoteric Form” to demonstrate what the alchemist like to do as they used an “artistic form” of their day. To hide these “analogies” about just such a thing as I am describing in relation to the body and the crucible as being very similar.
The original of Splendor Solis which contained seven chapters appeared in Augsburg. In miniatures the works of Albrecht Dürer, Hans Holbein and Lucas Cranach were used. The author of the manuscript was considered to be a legendary Salomon Trismosin, allegedly the teacher of Paracelsus. The work itself consists of a sequence of 22 elaborate images, set in ornamental borders and niches. The symbolic process shows the classical alchemical death and rebirth of the king, and incorporates a series of seven flasks, each associated with one of the planets. Within the flasks a process is shown involving the transformation of bird and animal symbols into the Queen and King, the white and the red tincture. Although the style of the Splendor Solis illuminations suggest an earlier date, they are quite clearly of the 16th century
I gave a picture of a woodcut, as example of this, and what it means. As well, the relationship to the “Emerald tablet for consideration” in this thought about creativity and passion. About “distilling the very essence” we are made up of, as we think about things. As we give “colour and meaning to emotive happenings” that you are not aware, yet exist, in a “colouring of a sort outside you” you never knew about?
Do I fare better in my emotional disposition? I have to say I am quite human, in my struggle to identify those things that I develop in my relations, and wish for better then the Zen Master, whose anger quickly dissipates. 🙂
See again the relationship I used in regards to Democritus. While it is indeed old these comparisons I make of the history as science evolved, did you think that they would have been discarded? Even in this day and age, the art form of pursuing the excellence in the human being without applying this alchemist attitude to life is not without the perspective I share with Jung. Also in those who are trying to understand the EQ (Emotional quotient) now adopted in the understanding of the human being?
I belong to no group or faction, but deal with this from a perspective of research and understanding in relation to studying “the self.” The “psychological aspect of this work” not only from an historical perspective, but from a understanding of today’s psychology as well.
Am I credentialed? Am I a scientist? Of course not. So from that standpoint the ownest is to “weight the ideas” that I put forth, and for you to find whether your recognize “the truth” in what I say. It is not my intent to spread disinformation(token authority) and propagate illusions in the dealing with reality.
My work is to further expose our “subtle actions” from ways which have not been dealt with before? Including the way in which “new concepts are developed” in relation to science. IN this respect, I may be called “the seer” but do so with great respect of what Smolin set out to distinguish, understanding fully, the responsibility of the work of science to work from testability and experimental procedures.
For someone who sees as a Synesthesist, even though I do not see like them, I am able to “make the comparison,” built from “modelling perspectives” that I developed while compiling and doing my own research.
Even the Synesthesist will have to ask themself whether what I portray is significant in there own research and understanding, as they are continuing to apply and understanding the “sensual imputes” that have been “cross wired.” I may work from a “conceptual basis?”
I am trying to bring “this point of view of my own” from the metaphysical realm, and give it meaning in relation to our lives today. Hence I could be labeled the “broken flower pot,” while giving a “vast view of the interrelationships” that I have been working.
A crucible is a cup-shaped piece of laboratory equipment used to contain chemical compounds when heating them to very high temperatures. The receptacle is usually made of porcelain or an inert metal.
Use in Ash Content Determination
Ash is the completely unburnable inorganic salts in a sample. A crucible can be similarly used to determine the percentage of ash contained in an otherwise burnable sample of material such as coal, wood, or oil. A crucible and its lid are pre-weighed at constant mass as described above. The sample is added to the completely dry crucible and lid and together they are weighed to determine the mass of the sample by difference. The crucible, lid, and sample are then fired to constant mass to completely burn up the sample, leaving behind only the completely unburnable ash. After cooling in dryness, the crucible, lid, and remaining ash are weighed to find the mass of the ash from the sample by difference. The fraction of ash (by mass) in the sample is determined by the dividing the mass of the ash by the mass of the sample before burning, which is done by subtracting the weight of the crucible and lid from the figure of the container, lid, and sample.