This week's post for the intellectuals, the artistic and creative, those in the psychoanalytic and therapeutic field, and the serious students of life's patterns among you.
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Every civilisation and culture carries a soul.
That soul is not only written in its laws and institutions, but woven into its dreams, its faith - and into the forms it creates when it attempts to express beauty.
Culture is not just what we do consciously. It is also what we do without knowing why - like an ancient echo in the blood, a pattern we are born into, shaped by generations of experiences, myths and prayers. In our epigenetic material.
These patterns lie deep within us. They are like an invisible lens of geometry before our eyes. We do not see the lens clearly with open eyes - but we see the world through it. And what we create is always marked by its shape.
Sometimes one can catch a glimpse of this hidden geometry directly.
In deep meditation, where the mind becomes still as water, they can emerge behind closed eyelids - as luminous, pulsating patterns, moving according to an order that feels older than language.
They can come in working with certain visual or auditory mindmachines that induce brain rhythms which open the unconscious's world of images.
And they can reveal themselves in inner journeys, but also show themselves to one's gaze during the intake of consciousness-expanding substances that expand perception and sensory impressions - where it is as if consciousness's very "back wall" falls away, and one sees the raw structure in the field from which everything is woven.
These experiences are not random hallucinations.
The patterns people see in these states often have striking similarities with the forms our civilisations through centuries have carved in stone, painted in coloured glass or etched into parchment. They lie as consciousness's raw material, shaped into culture's art and architecture. And we create on the basis of their structure - even if we are not conscious of their presence and their imprinting on us.
In Christian consciousness, this lens becomes, for example, the rose windows of cathedrals.
A light-filled circle, where coloured glass and motifs create an incomprehensibly beautiful cosmic clockwork of light, symmetry, Order and narrative. The light falls through the window like truth through time - and everything in the form points upward. Towards the source. Towards God.
And here begins the fascinating part - and what I really want to explain and share.
In Islamic consciousness, the lens becomes arabesques and mandalas.
Infinite repetitions of mathematical patterns that unfold like God's eternal unity, without beginning and without end. No human figures, no depiction of the Creator - only the form, which becomes a sea where the gaze disappears inward towards eternity.
Both are beautiful.
Both are full of meaning.
BUT.
They are NOT the same - because they spring from two different souls.
Two different ways of understanding the relationship between man, the world and the divine.
Therefore.
When one attempts to lay these patterns on top of each other - and you can try - what happens is not harmony, but dissonance.
It is like playing two melodies in different keys at once.
These are not small variations - these are two COMPLETELY DIFFERENT cosmic fundamental chords.
And here lies a truth we often forget - or perhaps rather - which the snot-confused European cultural-Marxist painter-brain in its inversion of reality refuses to acknowledge and recognise.
A civilisation cannot see through two lenses at once - WITHOUT losing its focus.
And if it loses focus, it loses the ability to recreate its own pattern.
And when the pattern disappears, the civilisation's soul also disappears.
This is why architecture and art are not just decoration. They are civilisation's spiritual fingerprint - a visible proof of the invisible pattern that shapes both our psyche and our social order.
If you doubt whether this is true, feel the difference yourself.
Walk through the streets of Paris, where the buildings were erected as a striving towards God - where spires, facades, ornamentation and proportions lift the mind.
And compare it with today's genderless (yes, you caught that... didn't you?) - that is, ANDROGYNOUS NONBINARY - soulless housing boxes that most resemble stacked storage containers for people.
Or take a trip to the former Soviet Union and walk among the concrete communism's godless and soulless, inhuman building blocks that will honour neither Creator nor inhabitant - but simply mash everything down into the same grey form, in a utopian idea that EVERYTHING must be distributed perfectly EQUALLY!
Perhaps it is in this unconscious field that we find the explanation for an unease many ethnically European and Scandinavian people today can feel, but cannot put into words.
For when a nation decides that it will erect power centres for foreign faiths and cultures that amplify and spread a consciousness which in its basic form is antagonistic to the existing one, something happens deep in the collective unconscious.
Dissonance.
Imbalance.
Destabilisation.
Because the patterns in the external suddenly no longer align with the internal ones.
The name of inclusion and diversity sounds beautiful - but its false self-annihilating form that Europe drew down like a veil over its population - contains the danger that it creates an energetic pull that pulls in a different direction from the pattern the population is shaped by.
And that creates chaos.
Not just in the cityscape, but in the innermost and unconscious field we all share.
An invisible disturbance that many experience as a threat... without quite knowing why.
And on top of that, they have - from political quarters, media and entertainment industry - had the audacity to tell them that this feeling must not be taken seriously.
That "a good person" can only be one who suppresses their intuition, closes their eyes to their instinct and stifles the deep, inner sense that something fundamental is wrong.
Think about that.
If you have made it all the way down here - and you still have not quite grasped it, let me explain it with an image even children can understand.
Imagine that our civilisation is like a large, beautiful carousel in an amusement park. An attraction that generations have built, refined, fought and sacrificed themselves for and maintained through a thousand years.
It has its own rhythm, its own harmonic movement - and we turn with it, without resistance, in a dance we all know. Because everything we mirror ourselves in reminds us of its truth and beauty.
When foreign cultures arrive, it is like small carousels being installed on top of the large one. They have their own direction - and some perhaps turn the opposite way.
A single one does not do much.
But the more small carousels appear, and the larger and stronger they become, the more we feel it. The speed and stability of the large one begins to change. The movement becomes uneven.
And as the small opposing carousels join together into one large counter-moving force, the entire attraction will suddenly begin to become so unstable that it first stands still or begins to turn the opposite way.
We cannot blame the small carousels for turning as they always have. It is their nature, their purpose - the way they are constructed. They carry their own internal machinery, their own idea of which way the carousel should turn, and why.
Some of them have as their primary goal not just to ride along on the large carousel, but to change its entire direction.
To make it their own.
To replace the music, change the movement, paint it over in their own colours and turn down everything that reminds of the old rhythm.
Because in their understanding of the world, this is not just desirable - it is necessary.
They believe that if the large carousel does not come to turn like their own, then it turns wrongly.
And therefore they work, patiently and persistently, to change its entire movement, regardless of what it was originally built for.
So the large carousel - our civilisation, our culture, our country - must decide whether it will allow itself to be destabilised and turned in a foreign direction, until it is no longer itself.
Try to remember that it does not merely belong to the current passengers who are aboard right now, but also to the coming generations, whose lineage has built it, fine-tuned it and paid for it to be able to turn in harmony.
And if we betray that responsibility, we will be the first generation that does not pass the carousel on - but leaves it to be taken apart and put together again, so it turns in a rhythm we no longer recognise... and which is no longer ours.
❤️🔥🪽
Good Sunday, friends.
Pretty impressive if you fought your way all the way down here. 🤓😅
