November 9

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November 9


Beloved #1 New York times bestselling author Colleen Hoover succeeding again to deliver a story that is impossible to put down. November 9th This Novel is not just a simply date for Fallon O’Neill. Is the day her life changed irrevocably, is the day that changed her forever, is the day she would give anything to forget. But is also the date when she met Benton James Kessler. college student, an aspiring novelist, a boy for whom November 9 has a certain significance. 
The story flowed fantastically well and the time jumps never felt too much. At times it was intense, angsty. What I didn’t like too much was the drama – unnecessary drama I could say. It was too much IMO

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غباء لاوعي

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Can Suffering Inspire You?

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Art out Of Pain
"the artist takes in the world, but instead of being oppressed by it, he reworks it in his own personality and recreates it in the work of art" Ernest Becker


There was a great scene in a movie and these two brothers that wished to become writers, We start learning about the story of their unfolding lives, the drama of their every day. One of the guys falls in love, and then his girlfriend commits suicide; something utterly tragic, erupts in his life, and the then the film continues, and, all in sudden, there's a scent that shows him frantically writing down. and the narrator tells us he felt guilty over the creativity triggered by his lover's death.


This notion that tragedy can lead to breakthrough, can lead to rebirth, that the instances of suffering in our lives can actually inspire us to make beautiful art is a sort of paradoxical ecstasy. We can take our wounds and we can turn them into something larger, that we need not have suffered in vain game, is a wild idea, because it doesn't mean that we are happy for our suffering.


It doesn't mean that we wished for these tragic things to happen to us as artists, but it means that we're able to take that pain, take that aching rhapsody and output something in the world and make a contribution, because at least that way, we validate the fact that we exist. we affirm ourselves.


We have no choice but to do so, in the face of entropy, in the face of death, to not say that we exist is to not live at all.

Jason Silva - Sots of awe

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The looking glass self

1:35:00 AM cc 0 Comments



In the age of social media, people increasingly get to have the sense of authorship over how they present themselves to the world, you’r carefully curated instagram feed, your facebook profile pictures, these are ways in which you essentially get to dictate, you get to construct the way that other people perceive you, and this raises all kinds of questions about the fluidity of our identity about how we interface with other minds and other people and it raises all kinds of questions about authenticity, authentic exchanges. 

Who m I? and so the philosopher by the last name of Cooley, he wrote about the looking glass self theory and basically what he said is that we come to be through the interactions that we have with other people, by making models of the other person’s mind. In other words, he says:”I’m not who I think I’m, I’m not who you think I’m, I’m who I think you think I’m”. In other words, we make renderings of what other people think of us and actually play the role of becoming we think they think we are, but in the end we never actually get to know other people’s minds, all we get to know is the modeling of their modeling of us. 

So in the end of the day, we live inside a construct of our own making. I guess perhaps what we should do is come clean about this fact and stop asking questions about authenticity in the ways that we present ourselves artfully on social media and instead accept the fact that identity is a fluid act of improvisation and that the self is not a solid thing and never has been. Now again,


I’m not who I think I’m, I’m not who you think I’m,  I’m who I think you think I’m. Wrap you head around that one 



Jason Silva - shots of awe

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Usefulness of forgetting

3:46:00 AM cc 0 Comments



One of the things that happens when we grow older, with our nodding resignation into nothingness, is that we enter a kind of consciousness known as "The  been there's and done that's" of the adult mind. It's that notion when nothing excites or overwhelms anymore because you've seen it all before. what a tragedy this is, right ? 

I mean, come on! We all remember nostalgically the intensity of experiencing something for the first time. Seeing the world through the eyes of child - wonder struck, entranced by awe, succumbing to astonishment, giving in to astonishment, month gaped wide, I mean, damn to see something for the first time. but then what happens ? then you assimilate, you model it in your brain, you store it in your library of been there's and done that's and you no longer engage, sensorily with stimuli. It's called hedonic adaption, familiarity breeds boredom. It's so depressing, right ?


And so what we do ? I think this is where mindful self-inquiry come in, this is where meditation, this is where breathing exercises come in. This is where boarding a craft that flies you across the world can be therapeutic like to injecting you with a little bit of life by stimulating you and jet-lagging you, and placing you with an entirely different wallpaper of the mind. That's why travel revitalizes, sometimes tweaking our perception. 


Perhaps that's why a museum take an ordinary item and puts it on the wall, decontextualizes it, and brings our attention back to it. We get to enter the archetypical space where the specific stands in for all of its kind, stands in for the reversal. 


We all like to enter a modality of consciousness known as PLOTO'S REALM OF IDEAS. That's where you live in the present, that’s when anxiety about the future and melancholy for the past get drowned out by the ever present rapture of the NOW. Knowing only now and the bliss of now. 

Jason Silva - Sots of awe

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