Human Brain (v.1.1)

 

new painting available

human-brain-casey-cripe-studio.jpg
 
 
Human Brain (v.1.1) (original)
349.00

acrylic paint on papered wooden panel

12 " x 12 "
 

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" The brain is a soft, jellylike mass of billions of cells and their connections. Weighing two-and-a-quarter to three-and-a-quarter pounds, the human brain, by means of electrochemical energy, regulates conscious and unconscious sensation, perception, and behavior, as well as the sympathetic and autonomic activities of the internal organs. In the brain stem and limbic system we experience our commonality with animal ancestors and relatives. As the 'base' of the crown chakra, the brain houses our fantasies of a 'higher' universal mind. The brain provides an internal representation of reality, and in so doing it also carries our symbolic projections of wholeness, the mystery of totality and the alchemical 'alembic'-- the distilling vessel in which the transformation of human and world takes place. . .

. . .Originally a dark rotundum, the brain, along with the cosmos, quickly became the quintessential 'black box', that we feel compelled to open in pursuit of the ancient imperative 'Know thyself'. A proliferation of disciplines such as neuroscience, neuroepistemology, and psychoneuroimmunology now seek to unlock the 'X' factor and provide access to the mystery of being. Our consequent fascination with brain speaks to its symbolic function as an imaginal container of a timeless and unbounded process, which resolves opposites and divisions. . .

. . .Observing psyche's imaginings of the brain reveals images of 'geography' and brain maps, 'centers' of emotion and memory, 'types' of intelligence, localizations, specializations, right brain/left brain splits and the like-- and recent postmodern images of 'networks' and 'fields', neural ecosystems, plasticity and 'mirroring'. In our fantasies about the brain, these complements of specialization and holistic functioning marry the perennial opposites inherent in psychological experience : fragmentation and wholeness. Subject to both brainwashing and brainstorming, our imagination about the brain is informed as much by our fantasies about our essential natures, as by scientific and technological innovation. As the terrae incognitae of the universe and the brain open to exploration, it is worth noting that as we see into images of both deep space and the brain, we also see psychic imagining as well. "

- _The Book of Symbols : Reflections on Archetypal Images_ (02010)

Human Heart (v.1.1)

new painting available 

 
 
 
Human Heart (v.1.1) (original)
349.00

acrylic paint on papered wooden panel

12 " x 12 "

handmade on 02 . 14 . 02018
as a meditation on Love & Life

<3
 

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" The heart is a living symbol. When we say 'I love you with all my heart', we do not mean the heart as organ whose beats cause the circulation of blood throughout the body, whose failure could drain the body of life. We also mean the heart as feeling, as the soulful, as the heart of the cosmos, echoed and amplified in the primal pulsation of the drum. Heartbeats correspond to the contracting and expanding movements of the universe, while the heart of the body is as essential to life as the sun is to our solar system. Among the first sounds experienced in the womb are the internally resounding rhythms of the mother's heart, enveloping and echoing the quicker beats of the embryo as it grows. The heart's undeniable physical centrality to our existence has its correspondence in the undeniable reality of our emotions, variable heartbeats measuring out our feelings of affection, desire, and delight, as well as pounding out our rages, fears, and vulnerabilities; the heart can be pierced and melted by the darts of Eros as well as broken by love's refusal. . .

. . . The heart shares with lotus flower and the rose the qualities of the hidden, enfolded center beneath the outer surface of things, the secret abode of consciousness, locked away, virgin and so inviolate that when we want to 'let someone in', we must give them 'the key'. The 'heart of the matter' expresses the essential core of any issue, and the heart is so identified as the center and unique essence of a human being that the idea of surgically transplanting a heart from one individual (((or species!))) to another still meets with powerful resistance. As the seat of all emotions, positive and negative, the heart is the point of contact for linkings of hatred or love, envy or compassion, fear or courage, deepest sorrow or brightest joy. "

- _The Book of Symbols : Reflections on Archetypal images_ ( 02010 )

If You Get Lost

 
Compass-Casey-Cripe.jpg
 

IF YOU GET LOST

  • The shock of realizing that you are lost can be mentally crippling but you have to hope for the best and plan for the worst. Recall survival techniques or training and expect them to work as it will increase your chances for success by increasing your confidence that you can survive.
  • Stay "Put". if you're not sure of the way out and people know you are missing. Remain calm. Usually it is best to stay where you are and build a shelter. This is especially true if you are lacking food or are injured. Staying will give you a chance to conserve your energy.
  • Carefully study your surroundings. Find water, if possible an open area for a signal fire, a sheltered area for a camp, and wood. If the wood supply permits, keep a small fire going, at all times, for a signal fire.
  • Build a simple safe comfortable shelter and fire as soon as possible.
  • Once well-sheltered and warm, form a plan. A survival plan will alleviate your fear. Your confidence and morale will increase.
  • Be calm. Take it easy and think of how to implement your action plan. Establish where you are by identifying landmarks and compass directions.
  • Take stock in your situation. Mentally list everything you have on you. Empty your pockets and use your imagination to discover how your belongings can be used.
  • Do not be too eager to find your way out until you have adapted to your environment and have the basic necessities for food, water, and shelter. Unnecessary risks will be taken if you are careless and impatient.

FEAR AND PANIC

  • Knowledge is the first step of overcoming fear. Knowledge can be amplified by the confidence in your equipment, group interaction, and survival techniques. The understanding of the smells, noises, physical characteristics of land, weather, and your relationship with them will also be of great help.
  • To feel fear is normal and necessary. It is nature's way of giving you that extra shot of energy.
  • Undue fear is usually caused by the unknown. Look carefully at a situation to determine if your fear is justified. Upon investigation you will usually find many of your fears are unreal.
  • If you are injured, pain might turn into panic. Panic can cause a person to act without thinking and go running off into the forest.
  • Panic can be caused by loneliness which can lead to hopelessness, thoughts of suicide, and carelessness.
  • Keep your mind busy and plan on survival. Recognizing the sign of fear and panic will help you overcome their devastating effect. Make sure that your doorway faces east towards the rising sun. Get up as soon as it is light and get busy.

USE YOUR IMAGINATION AND IMPROVISE

  • Improvise to improve your situation. This will give you more control and raise your morale.
  • Remember that your goal is to get out alive. Raise your morale by "dreaming" of the time after you "get out alive" will help you value life now.
  • Conserve your health and strength. Illness or injury will greatly reduce your chance of survival.
  • Hunger, cold, and fatigue lower your efficiency, stamina, and will make you careless. You will realize that your low spirits are the result of your physical condition and not danger.
  • Improvising includes eating insects and other unusual foods.
 

Art & Psyche ( 1 )

"the mandala or circle image seems to be the predominant one in young children who are first learning how to draw. Initially a two-year-old with a pencil or crayon just scribbles, but soon (s)he seems to be attracted by the intersection of lines and begins to make crosses. Then the cross is enclosed by a circle and we have the basic pattern of the mandala. As the child attempts to do human figures, they first emerge as circles, contrary to all visual experience, with the arms and legs being represented only as ray-like extensions of the circle. . ."
 

". . .indicating that the young child experiences the human being as a round, mandala-like structure and verifies in an impressive way the psychological truth of Plato's myth of the original round man. Child therapists also find the mandala an operative, healing image in young children. All of this indicates that, symbolically speaking, the human psyche was originally round, whole, complete ; in a state of oneness and self-sufficiency that is equivalent to deity itself. . ."

 
 

". . . The same archetypal idea that connects childhood with nearness to deity is presented in Wordsworth's 'Ode on Intimations of Immortality' :

Our Birth is but a sleep and a forgetting :
The Soul that rises with us, our life's Star,
Hath had elsewhere its setting,
And cometh from afar:
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come
From God, who is our home:
Heaven lies about us in our infancy !

From the standpoint of later years, the close connection of the child's ego with divinity is a state of inflation. Many subsequent psychological difficulties are due to residues of that identification with deity. Consider, for instance, the psychology of the child in the first five years or so. On one hand it is a time of great freshness of perception and response; the child is in immediate contact with the archetypal realities of life. It is in the stage of original poetry; magnificent and terrifying transpersonal powers are lurking in every commonplace event. But on the other hand the child can be an egotistic little beast, full of cruelty and greed. Childhood is innocent but it is also irresponsible. Hence, it has all the ambiguities of being firmly connected with the archetypal psyche and its extra-personal energy, and at the same time being unconsciously identified with it and uncharacteristically related to it. . ."

". . .Children share with primitive man the identification of ego with the archetypal psyche and ego with outer world. With primitives, inner and outer are not at all distinguished. For the civilized mind, primitives are most attractively related to nature and in tune with the life process ; but they are also savages and fall into the same mistakes of inflation as do children. Modern man, alienated from the source of life meaning, finds the image of the primitive an object of yearning. This accounts for the appeal of Rousseau's concept of the 'noble 'savage' and other more recent works which express the civilized mind's nostalgia for its lost mystical communion with nature. This is one side, but there is also a negative side. The real life of the primitive is dirty, degrading, and obsessed with terror. We would not want that reality for a moment. It is the symbolical for which we yearn.

When one looks back on his psychological origin, it has a two-fold connotation : first, it is seen as a condition of paradise, wholeness, a state of being at one with nature and the gods, and infinitely desirable ; but secondly, by our conscious human standards, which are related to time and space reality, it is an inflated state, a condition of irresponsibility, unregenerate lust, arrogance, and crude desirousness. The basic problem of the adult is how to achieve the union with nature and the gods, with which the child starts, without bringing about the inflation of identification. "

:

Edward f. edinger
_Ego and Archetype_
( c. 01972 )

Cartographic (1)

Bellmans-Map-Casey-Cripe.jpg

He had bought a large map representing the sea,
Without the least vestige of land :
And the crew were much pleased when they found it to be
A map they could all understand.

"What's the good of Mercator's North Poles and Equators,
Tropics, Zones, and Meridian Lines?"
So [he] would cry : and the crew would reply
"They are merely conventional signs!

"Other maps are such shapes, with their islands and capes!
But we've got our brave Captain to thank :
(So the crew would protest) "that he's bought us the best--
A perfect and absolute blank!"


 :

excerpt from
The Bellman's Speech
of
_The Hunting of the Snark_
by
Lewis Carroll
( 01876 )

illustration of
The Bellman's Map
by
Henry Holiday