ECOLOGY OF SOULS
Iona Miller, (c)2016
Iona Miller, (c)2016
AN ECOLOGY OF SOULS
The Aesthetic Paradigm in Genealogy
“...it is only as an aesthetic phenomenon that existence and the world
are eternally justified...” --F. Nietzsche, 1872
"I am convinced that there is only one basic Order - which appears as logical or mathematical to our cognitive intuition, aesthetic to our emotional intuition, and moral to the volitional or conative. And it is essentially numinous."
--Sir Cyril Burt
"The Spirit speaks in a poetic way, but the man understands it literally. ...The richest understanding of the sacred becomes available when the metaphorical and the literal are brought together without denying either kind of truth..."
--Gregory Bateson
Archetypal Aesthetics in Genealogy
Archetypal psychology is a ground for an aesthetic, phenomenological approach
to genealogy -- the fertile earth in which we can plant our contemporary and traditional family tree with its potentially vital forms and structures.
The physical and chemical constituents of our bodies are the elemental earth in us. Here our acorn can grow into the oak it was meant to be. The future is affected by what we imagine. The challenge today is to sustain the vivacity of our culture and carry it into the future.
Genealogy is a way to get in touch with the ground of being, when it is consciously practiced as such. It forms a great feedback loop between our present and our origins from the middle ground of imagery states that is our birthright.
Our lines take serpentine twists and turns mirroring the genetics of our DNA. Genealogy dignifies our existence as numinous, not merely derivative or reactive, nor is it prescriptive in any one approach fits all manner. Incorporation is an ongoing process.
Jung cautions, "The dead who besiege us are souls who have not fulfilled the principium individuationis, or else they would have become distant stars. Insofar as we do not fulfill it, the dead have a claim on us and besiege us and we cannot escape them." (The Red Book; Appendix C; Page 370)
Our ancestors are permanent living residents in our own psychological life that continue to enrich, animate, and inspire us in their enduring significance and embodied meaning. Tacitly welcoming us across the years, they have aesthetic and psychological qualities.
Our thought is constrained and impaired because we think in terms of partial derivatives (time- and space-bound effects) instead of full function. The capacity for objective inner experience remains latent. We gradually develop "an eye to see and an ear to hear."
Genealogy is an aesthetic interaction in which both the Greek chorus of ancestors and ourselves are the medium that makes art of life's remnants. The evolutionary function of the aesthetic sense drew us toward conditions that made for survival and reproductive success and repelled us from conditions that impacted longevity and fertility negatively. Existence and the world are eternally joined as an aesthetic phenomena.
What we think and feel and the intensity of aesthetic engagement, is proportional to the depth of its unconscious content. By implication, its imaginative texture is that which cannot be fixed in meaning. Yet it is capable of moving us psychologically away from the temporal (human) present and towards the universal (divine) or archetypal constant. So, aesthetics is a form of transformation.
Genealogy forms both the aesthetic space or context as well as the figurative content in an authentic expression of the human condition through the ages. Genealogy is the basis for a configuration, re-configuration, and aesthetic appreciation of our life story. Genealogy is a 'mirror' of aesthetic engagement in the materially based image.
Addressing the needs of unconscious life is fundamental to aesthetic
appreciation. Implied inner needs drive the initial intention to physically create our genealogical image and to act this out imaginatively. We raise the ancestors who carry meaning and value to consciousness from the labyrinth of unconscious form production.
The aesthetic paradigm is admittedly not the only approach, and it may be philosophically romantic, but it embodies a certain eros or love toward the family -- known, unknown, and unknowable. We can relate to the blunt facts of our genesis and stop there as the genealogical 'realists' do, cutting off the fictional, legendary and mythic elements, but we may do so at our own psychological peril.
Aesthetic appeal is certainly a big part of the lure of genealogy that supersedes dry ancestral recording. The aesthetic approach does not rule out other perspectives on genealogy, which can be pursued as we are moved to do so.
But the archetypal approach probably makes the most 'sense' of the roots of our mythologically-based lines, and permits depth exploration without literalism, concretization, or symptomatic concretization. For example, when Native American cultures say they get their ancestral wisdom, ceremonies, guidance, and direction from the 'womb at the center of the universe,' they refer to the sacred Feminine.
Jung echoes such ancient sentiments: "For him who looks backwards the whole world, even the starry sky, becomes the mother who bends over him and enfolds him on all sides, and from the renunciation of this image, and of the longing for it arises the picture of the world as we know it today." ( The Sacrifice; CW 5; Par 643.)
The archetypes are an aesthetic stimulus with their own properties and appeal, among other things. So is our aesthetic response to their symbolism and experience. The mythic is an expression of the larger whole. We often fail to realize that other fascinating possibilities exist. Creative outpouring is the entrance to self-actualization. It is heuristic, preparing us for deeper understanding.
A psychophysical approach is the secret behind the aesthetic experience. The ancestors feed the aesthetic formation of our living form. Aesthetic knowledge enables the psychological phenomena to link the body to the world.
Creativity points the way to the numinous, a high-voltage elemental force. Incubation brings new insights into ourselves and the ancestors. In our initial attempts to encounter the numinous with the emotions instead of with the body, we must expect indirect, rather than direct knowledge, and therefore be satisfied with intimations, allegory, implications, and transformations.
Psychic tensions accumulate and stimulate our imaginations to form images embodying their emotional essence. This process is the dynamic agency behind both individual fantasies and forms of cultural expression.
Aesthetic Intuition
Genealogy offers direct traditional testimony that archetypes as aesthetic universals lie at the roots of the collective unconscious which Jung insisted was not a mystical idea. Our aesthetic response to phenomena is the source of the immediate apprehension that Hillman describes as 'soul-making.'
The symbol is a means of guiding thought out into the Unseen and Incomprehensible. Ancestral images remain largely ambiguous and are never precisely defined nor fully explained. They appear and are created in dreams, ritual, and art.
We know now there are neural correlates to aesthetic experience, including contemporary genealogical practice. Its effects include spontaneous appearance of intuitive forms and symbolic visualizations of what cannot be directly known. An aesthetic response to perception fosters notions of reverence, symbolism, and role relationships -- aspects of ancestor devotion.
We open to the aesthetic depths of the world, in addition to the physical, social, linguistic, and spiritual modes. Spiritual here is a concept with a voice independent of formal religious structures with essential mystery underscoring its meaning, It has a deep resonance with key elements of religious practice.
The image now exists as an external presence, outside the maker and, at the same time, is temporarily inhabited by a part of the maker. Images are actively imagined internal feeling states now embodied within this external image. The image is both a statement about and a depiction of what was formerly an invisible and largely unconscious inner state. It can be understood in several ways at many levels of meaning.
At root, traditional genealogy is an archetypal activity, recapitulating and extending humanity's oldest activities. The aesthetic response is an ethical response -- a response of the heart -- that values the ancestors and the genealogical history. Genealogy is thus an archetypal order, an aesthetic construction, and a virtual map of the personal and collective unconscious, reflecting a principle of totality and primordial origins.
A Forest of Family Trees
Cosmic process provides the potential for life. The life-world is always there as the background of all human experiences. All the living world is aesthetic. Deeply felt aesthetic experiences are very likely to also be numinous. The aesthetic is a way to receive, process, and deal with coherent information.
Pattern is the ultimate "stuff" of reality. Without intent to do so, the patterns of our genealogical structures endure and then disintegrate. This occurs at all levels of explanation. The key is the integrity of the pattern, not the "substrate."
Even largely unconscious flowing information elicits physical responses. The "pattern which connects" is beauty, and the beauty of our connectedness is revealed graphically in the full flowering of our genealogy with its incorporation of the eollective tree -- the archetypal World Tree. At its root is the archetypal drama of our origins, externally validated by sources of recognition and resonance.
Like the sea or the sky, the tree or forest is a kind of archetype of the foundations of the world. Because it reflects our inner and outer reality, genealogy becomes a means of access to insights about the deep nature of both personal and collective reality. The ancestors are transcendent in their value if not their appearance.
Our genealogical chart is a shorthand of minimal graphics -- we are born; we mate; we die. It is a vast treasure of subconscious symbolism, wisdom, collective and self-knowledge that is the enabling of life. We are products of the aesthetic process of evolution, embryology, and life experience. Our bodies exhibit aesthetic proportion and so does a balanced mind.
Our family tree focuses and expands the field of our attention. Genealogy is a metaphor of primary process with the full intensity of literal truth. We can be inspired by lived relations with those energies on an ongoing basis...not just as a paper trial. Where lines meet dead ends or brick walls, the charts also represent emptiness.
Presence of Absence
The figures of absence inform us with their paradoxical presence. Absence of something is the negation of a presence as ‘non-presence.’ Many figurative strategies confront the notion of absence, and address the aesthetics of absence. For example, a spectre, phantom or absent figure is an archetypal representation of the presence of an absence, distorted shape (anamorphosis, a form of perspective) as uncertain presence.
Our untraceable lines remain profoundly unconscious in the silent margins from which the last known member of a lost line speaks. Such lines of descent do not enclose us but disclose our essential nature. They reflect and map out our embedding in the natural world, intricate in its elegance -- our very aliveness. Seeing with the eye of the heart gives us a very personal sense of the vastness and beauty of nature, our inherent place in it, and how we are sustained by it.
Autopoiesis
The genealogical aesthetic emerges somewhere between imagination and rigor as an ecology of souls, a self-organizing biophenomenon, the dynamics and functionality of interrelationships. We can apply ecological hermeneutics to explore our interpretations of disclosure and concealment -- in an imaginal sort of ecological intercorporeality.
Genealogy arouses and enlivens real psychological phenomena, with attention to bodily responses and emotional awareness enhanced by imagination.
Archetypal symbolism is an aesthetic experience, as is symbolic interaction with our ancestors, the archetypal background, and primal states of consciousness of the life-world. We interact through the meaning of symbols, by interpreting and reacting. We each have symbolic meaning to be revealed. Symbols bridge the gap between perceptual reality and and what we understand.
James Hillman’s aesthetic approach to dream images translate directly to genealogical imagery as scene, as context, as mood. Certain ancestors spontaneously suggest a place that we dream into, we enter into and in turn are embraced by it. Hillman noted the image doesn’t lead somewhere else like a story.
We can find nowhere to go but more deeply into the image. The images do not become pinned down by any particular interpretation, are never literalized into any single fixed concept or "meaning. Instead we return, drawn again and again to an experiential "living in the image," with new meanings potentially emerging over time as we go "more deeply into the image." Hillman suggests that images acquire autonomy and operate according to their own will, similar to gods.
Hillman’s approach to image is deeply rooted in the work of the French phenomenologist Gaston Bachelard. The image is a free expression created not from pressure but from play, not from necessity but from inventiveness -- the way we engage and embrace the world. Imagination is more than the stuff-sack of trauma; it is the cradle of renewal, a genesis, rather than effect. Imagination mobilizes the potencies of transformation.
In his Poetics of Space, Bachelard says, "By the swiftness of its actions, the imagination separates us from the past as well as from reality; it faces the future. To the function of reality, wise in the experience of the past, should be added a function of irreality, which is equally positive. Any weakness in the function of irreality will hamper the productive psyche. If we cannot imagine, we cannot foresee."
Our self-reference rests on a perceptual dimension of presence-openness not ‘closed’ within any conceptual system. As long as the images are not trapped in a single meaning, they continue as an animating, enlivening presence. You will quickly discover the ancestors various aesthetic preferences. These are forms, styles and archetypes that are inherent in their makeup. Aesthetic satisfaction validates the process.
Joseph Campbell said, "The object becomes aesthetically significant when it becomes metaphysically significant." Clarity is the "aha" quality -- privileged 'moments of grace.' Transient moments of grace and transformation put meaning into aesthetic arrest and creativity that is an intuitive awareness of the required action. The innocent viewer is stopped dead in their tracks and has no choice but to stare in awe at their relationship with the living world.
Aesthetic engagement is active engagement with the (genealogical) process -- engagement with the element of beauty and systemic wisdom. Aesthetic arrangement and metaphorical thought squeeze out the real meaning and value of our experience and the comprehensive properties of our relationships through 'wise relating.'
Like art, genealogy is significant life activity and a way to access systemic wisdom and connectiveness. We cultivate inner beauty in the life-changing play of our own natural history. Information is the stuff of relationship and the living world of context, relevance and integration. The conjunction of the spiritual and aesthetic is a Royal Marriage -- a grand synthesis of wholeness, our frail and mortal selves, revealed in their beauty over the epic panoply of history and myth.
"If your life has not three dimensions, if you don't live in the body,
if you live on the two-dimensional plane in the paper world that is flat and printed, as if you were only living your biography, then you are nowhere."
~Carl Jung, Zarathustra Seminar, Page 972.
The Aesthetic Paradigm in Genealogy
“...it is only as an aesthetic phenomenon that existence and the world
are eternally justified...” --F. Nietzsche, 1872
"I am convinced that there is only one basic Order - which appears as logical or mathematical to our cognitive intuition, aesthetic to our emotional intuition, and moral to the volitional or conative. And it is essentially numinous."
--Sir Cyril Burt
"The Spirit speaks in a poetic way, but the man understands it literally. ...The richest understanding of the sacred becomes available when the metaphorical and the literal are brought together without denying either kind of truth..."
--Gregory Bateson
Archetypal Aesthetics in Genealogy
Archetypal psychology is a ground for an aesthetic, phenomenological approach
to genealogy -- the fertile earth in which we can plant our contemporary and traditional family tree with its potentially vital forms and structures.
The physical and chemical constituents of our bodies are the elemental earth in us. Here our acorn can grow into the oak it was meant to be. The future is affected by what we imagine. The challenge today is to sustain the vivacity of our culture and carry it into the future.
Genealogy is a way to get in touch with the ground of being, when it is consciously practiced as such. It forms a great feedback loop between our present and our origins from the middle ground of imagery states that is our birthright.
Our lines take serpentine twists and turns mirroring the genetics of our DNA. Genealogy dignifies our existence as numinous, not merely derivative or reactive, nor is it prescriptive in any one approach fits all manner. Incorporation is an ongoing process.
Jung cautions, "The dead who besiege us are souls who have not fulfilled the principium individuationis, or else they would have become distant stars. Insofar as we do not fulfill it, the dead have a claim on us and besiege us and we cannot escape them." (The Red Book; Appendix C; Page 370)
Our ancestors are permanent living residents in our own psychological life that continue to enrich, animate, and inspire us in their enduring significance and embodied meaning. Tacitly welcoming us across the years, they have aesthetic and psychological qualities.
Our thought is constrained and impaired because we think in terms of partial derivatives (time- and space-bound effects) instead of full function. The capacity for objective inner experience remains latent. We gradually develop "an eye to see and an ear to hear."
Genealogy is an aesthetic interaction in which both the Greek chorus of ancestors and ourselves are the medium that makes art of life's remnants. The evolutionary function of the aesthetic sense drew us toward conditions that made for survival and reproductive success and repelled us from conditions that impacted longevity and fertility negatively. Existence and the world are eternally joined as an aesthetic phenomena.
What we think and feel and the intensity of aesthetic engagement, is proportional to the depth of its unconscious content. By implication, its imaginative texture is that which cannot be fixed in meaning. Yet it is capable of moving us psychologically away from the temporal (human) present and towards the universal (divine) or archetypal constant. So, aesthetics is a form of transformation.
Genealogy forms both the aesthetic space or context as well as the figurative content in an authentic expression of the human condition through the ages. Genealogy is the basis for a configuration, re-configuration, and aesthetic appreciation of our life story. Genealogy is a 'mirror' of aesthetic engagement in the materially based image.
Addressing the needs of unconscious life is fundamental to aesthetic
appreciation. Implied inner needs drive the initial intention to physically create our genealogical image and to act this out imaginatively. We raise the ancestors who carry meaning and value to consciousness from the labyrinth of unconscious form production.
The aesthetic paradigm is admittedly not the only approach, and it may be philosophically romantic, but it embodies a certain eros or love toward the family -- known, unknown, and unknowable. We can relate to the blunt facts of our genesis and stop there as the genealogical 'realists' do, cutting off the fictional, legendary and mythic elements, but we may do so at our own psychological peril.
Aesthetic appeal is certainly a big part of the lure of genealogy that supersedes dry ancestral recording. The aesthetic approach does not rule out other perspectives on genealogy, which can be pursued as we are moved to do so.
But the archetypal approach probably makes the most 'sense' of the roots of our mythologically-based lines, and permits depth exploration without literalism, concretization, or symptomatic concretization. For example, when Native American cultures say they get their ancestral wisdom, ceremonies, guidance, and direction from the 'womb at the center of the universe,' they refer to the sacred Feminine.
Jung echoes such ancient sentiments: "For him who looks backwards the whole world, even the starry sky, becomes the mother who bends over him and enfolds him on all sides, and from the renunciation of this image, and of the longing for it arises the picture of the world as we know it today." ( The Sacrifice; CW 5; Par 643.)
The archetypes are an aesthetic stimulus with their own properties and appeal, among other things. So is our aesthetic response to their symbolism and experience. The mythic is an expression of the larger whole. We often fail to realize that other fascinating possibilities exist. Creative outpouring is the entrance to self-actualization. It is heuristic, preparing us for deeper understanding.
A psychophysical approach is the secret behind the aesthetic experience. The ancestors feed the aesthetic formation of our living form. Aesthetic knowledge enables the psychological phenomena to link the body to the world.
Creativity points the way to the numinous, a high-voltage elemental force. Incubation brings new insights into ourselves and the ancestors. In our initial attempts to encounter the numinous with the emotions instead of with the body, we must expect indirect, rather than direct knowledge, and therefore be satisfied with intimations, allegory, implications, and transformations.
Psychic tensions accumulate and stimulate our imaginations to form images embodying their emotional essence. This process is the dynamic agency behind both individual fantasies and forms of cultural expression.
Aesthetic Intuition
Genealogy offers direct traditional testimony that archetypes as aesthetic universals lie at the roots of the collective unconscious which Jung insisted was not a mystical idea. Our aesthetic response to phenomena is the source of the immediate apprehension that Hillman describes as 'soul-making.'
The symbol is a means of guiding thought out into the Unseen and Incomprehensible. Ancestral images remain largely ambiguous and are never precisely defined nor fully explained. They appear and are created in dreams, ritual, and art.
We know now there are neural correlates to aesthetic experience, including contemporary genealogical practice. Its effects include spontaneous appearance of intuitive forms and symbolic visualizations of what cannot be directly known. An aesthetic response to perception fosters notions of reverence, symbolism, and role relationships -- aspects of ancestor devotion.
We open to the aesthetic depths of the world, in addition to the physical, social, linguistic, and spiritual modes. Spiritual here is a concept with a voice independent of formal religious structures with essential mystery underscoring its meaning, It has a deep resonance with key elements of religious practice.
The image now exists as an external presence, outside the maker and, at the same time, is temporarily inhabited by a part of the maker. Images are actively imagined internal feeling states now embodied within this external image. The image is both a statement about and a depiction of what was formerly an invisible and largely unconscious inner state. It can be understood in several ways at many levels of meaning.
At root, traditional genealogy is an archetypal activity, recapitulating and extending humanity's oldest activities. The aesthetic response is an ethical response -- a response of the heart -- that values the ancestors and the genealogical history. Genealogy is thus an archetypal order, an aesthetic construction, and a virtual map of the personal and collective unconscious, reflecting a principle of totality and primordial origins.
A Forest of Family Trees
Cosmic process provides the potential for life. The life-world is always there as the background of all human experiences. All the living world is aesthetic. Deeply felt aesthetic experiences are very likely to also be numinous. The aesthetic is a way to receive, process, and deal with coherent information.
Pattern is the ultimate "stuff" of reality. Without intent to do so, the patterns of our genealogical structures endure and then disintegrate. This occurs at all levels of explanation. The key is the integrity of the pattern, not the "substrate."
Even largely unconscious flowing information elicits physical responses. The "pattern which connects" is beauty, and the beauty of our connectedness is revealed graphically in the full flowering of our genealogy with its incorporation of the eollective tree -- the archetypal World Tree. At its root is the archetypal drama of our origins, externally validated by sources of recognition and resonance.
Like the sea or the sky, the tree or forest is a kind of archetype of the foundations of the world. Because it reflects our inner and outer reality, genealogy becomes a means of access to insights about the deep nature of both personal and collective reality. The ancestors are transcendent in their value if not their appearance.
Our genealogical chart is a shorthand of minimal graphics -- we are born; we mate; we die. It is a vast treasure of subconscious symbolism, wisdom, collective and self-knowledge that is the enabling of life. We are products of the aesthetic process of evolution, embryology, and life experience. Our bodies exhibit aesthetic proportion and so does a balanced mind.
Our family tree focuses and expands the field of our attention. Genealogy is a metaphor of primary process with the full intensity of literal truth. We can be inspired by lived relations with those energies on an ongoing basis...not just as a paper trial. Where lines meet dead ends or brick walls, the charts also represent emptiness.
Presence of Absence
The figures of absence inform us with their paradoxical presence. Absence of something is the negation of a presence as ‘non-presence.’ Many figurative strategies confront the notion of absence, and address the aesthetics of absence. For example, a spectre, phantom or absent figure is an archetypal representation of the presence of an absence, distorted shape (anamorphosis, a form of perspective) as uncertain presence.
Our untraceable lines remain profoundly unconscious in the silent margins from which the last known member of a lost line speaks. Such lines of descent do not enclose us but disclose our essential nature. They reflect and map out our embedding in the natural world, intricate in its elegance -- our very aliveness. Seeing with the eye of the heart gives us a very personal sense of the vastness and beauty of nature, our inherent place in it, and how we are sustained by it.
Autopoiesis
The genealogical aesthetic emerges somewhere between imagination and rigor as an ecology of souls, a self-organizing biophenomenon, the dynamics and functionality of interrelationships. We can apply ecological hermeneutics to explore our interpretations of disclosure and concealment -- in an imaginal sort of ecological intercorporeality.
Genealogy arouses and enlivens real psychological phenomena, with attention to bodily responses and emotional awareness enhanced by imagination.
Archetypal symbolism is an aesthetic experience, as is symbolic interaction with our ancestors, the archetypal background, and primal states of consciousness of the life-world. We interact through the meaning of symbols, by interpreting and reacting. We each have symbolic meaning to be revealed. Symbols bridge the gap between perceptual reality and and what we understand.
James Hillman’s aesthetic approach to dream images translate directly to genealogical imagery as scene, as context, as mood. Certain ancestors spontaneously suggest a place that we dream into, we enter into and in turn are embraced by it. Hillman noted the image doesn’t lead somewhere else like a story.
We can find nowhere to go but more deeply into the image. The images do not become pinned down by any particular interpretation, are never literalized into any single fixed concept or "meaning. Instead we return, drawn again and again to an experiential "living in the image," with new meanings potentially emerging over time as we go "more deeply into the image." Hillman suggests that images acquire autonomy and operate according to their own will, similar to gods.
Hillman’s approach to image is deeply rooted in the work of the French phenomenologist Gaston Bachelard. The image is a free expression created not from pressure but from play, not from necessity but from inventiveness -- the way we engage and embrace the world. Imagination is more than the stuff-sack of trauma; it is the cradle of renewal, a genesis, rather than effect. Imagination mobilizes the potencies of transformation.
In his Poetics of Space, Bachelard says, "By the swiftness of its actions, the imagination separates us from the past as well as from reality; it faces the future. To the function of reality, wise in the experience of the past, should be added a function of irreality, which is equally positive. Any weakness in the function of irreality will hamper the productive psyche. If we cannot imagine, we cannot foresee."
Our self-reference rests on a perceptual dimension of presence-openness not ‘closed’ within any conceptual system. As long as the images are not trapped in a single meaning, they continue as an animating, enlivening presence. You will quickly discover the ancestors various aesthetic preferences. These are forms, styles and archetypes that are inherent in their makeup. Aesthetic satisfaction validates the process.
Joseph Campbell said, "The object becomes aesthetically significant when it becomes metaphysically significant." Clarity is the "aha" quality -- privileged 'moments of grace.' Transient moments of grace and transformation put meaning into aesthetic arrest and creativity that is an intuitive awareness of the required action. The innocent viewer is stopped dead in their tracks and has no choice but to stare in awe at their relationship with the living world.
Aesthetic engagement is active engagement with the (genealogical) process -- engagement with the element of beauty and systemic wisdom. Aesthetic arrangement and metaphorical thought squeeze out the real meaning and value of our experience and the comprehensive properties of our relationships through 'wise relating.'
Like art, genealogy is significant life activity and a way to access systemic wisdom and connectiveness. We cultivate inner beauty in the life-changing play of our own natural history. Information is the stuff of relationship and the living world of context, relevance and integration. The conjunction of the spiritual and aesthetic is a Royal Marriage -- a grand synthesis of wholeness, our frail and mortal selves, revealed in their beauty over the epic panoply of history and myth.
"If your life has not three dimensions, if you don't live in the body,
if you live on the two-dimensional plane in the paper world that is flat and printed, as if you were only living your biography, then you are nowhere."
~Carl Jung, Zarathustra Seminar, Page 972.