Mene, Mene, Tekel Upharsin
Foresee what you will become if you accept your purpose as a maker of creation, in a context of achieving a sort of illusion with adjacent implications.
I like to reach the end given by the value of a mathematical puzzle from a game of subtlety refereed by fantasy, with a certain degree of awareness, built as an infinite reservoir from which I always and continuously fill myself up with characteristics specific to the artistic work, in an attempt to explain what no one has ever believed. I must only take the content of the picture from reality, with its kaleidoscope of consequences, without embroidering it, and reorganize it and present it while seeing it with the eyes of an illusionist who treasures the ephemeral character of the demonstration of magic.
It may seem absurd, a sort of freely conspicuous and delusive euphoria that distorts my perceptions of the world, of myself, unbearable and agonizing, in arguing a concept in which art, guessed by reason and reproduced by imagination, itself personified and amazed by the success of an illusion worthy of Houdini, is revealed in a marathon of adventure, in a well-controlled chiaroscuro, through areas of light and shadow.
It is as if I would develop a personal conception of a "Superior Force" or of a "God" as no one could understand: through the exercise of an a priori synthetic judgment, served with an uncompromising artistic honesty that makes up the matter and construction instruments of metaphysics. In turn, metaphysics is based on the superiority of the force with which the artist is based on the belief in an invisible God, which in some ways, is even his own doubling in another reality, in another space and another time.
The true masterpiece of creation is to be a magician who tells his illusions in a credible way, without explaining how they are achieved.
Any change of information into an image turns into the revelation of a creative phenomenon, where absolutely every action, every thought, every thing, begins to take on a resemblance to a literary jewel that stands out in the form of a poetic diary. Of course, each piece of jewelry has an image, just as each thought has its own image, being a link in an endless chain of causes and effects that the artist encounters when he delays and meditates on himself.
In this regard, akin to Victor Hugo, thinking only in images, I give free rein to my sharp spirit of observation even in the smallest of details, perceiving in each phenomenon of movement of things, taken in isolation, the meaning of a new deviation from the unanimously accepted normal. From any phenomenon of changing a habit, from each revelation of a relationship of relation between image and action, I rigorously extract the conclusions of an association of aspects of the human background that transpired within the interpretation of an enigma.
Thus, an extremely rich material is gathered that lends itself to the exercise of a judgment specific to a tangent to the mystery of a magic puzzle box, sprinkled with unique meanings that function as a relationship based on a quid pro quo that brings me the reputation of an illustrious illusionist.
Is it necessary for your purpose as a maker of creation to be investigated and applauded by the relationship between what you expose and what you are actually hiding?
At the request of great illusionist Harry Houdini, writer Arthur Conan Doyle randomly chooses a few words that he randomly writes on a piece of paper: "Mene, mene, tekel upharsin", the same words written by an unseen hand before King Baltazar, related to a prophecy about the fall of the kingdom of Babylon. They can be translated as: "Counted, counted, weighed and divided." Then the paper is folded and placed in the pocket, without anyone knowing its contents.
After a few moments, Houdini pulls two plates from the drawer, and spreads them apart with feverishness. Stupor, spiritism, illusion ! On one of them are written the words: "Mene, mene, tekel upharsin."
Always when I speak about leadership, under the extension of the need to value the uniqueness of a composition of ideas and inspiration, I ask the following question: what will you become if you accept your purpose as a maker of creation in a context of achieving a sort of illusion with adjacent implications?
The creation you prioritize on the path of evolution, towards achieving the status of a developer of new forms and means of expression, generally depends on what you have in your head as a final image, projected over the phenomenon of the type "reaction-counter-reaction."
Everything you develop as a personal concept of a "Superior Force" defaults in a reaction of consciousness that urges you to reflect on your own identity. And everything that dominates that concept has as a counter-reaction a reflection on the effects that you generate through suggestion and autosuggestion.
The truth is that every great artist, same as any illusionist, is measured by the following coordinates: "You can hide your own tricks from the larger public, but no the fact that you like something that no one else could see."
In order for leadership to be a viable form of manifesting the predominance of a greater power, then what you exhibit as a work of art must be the privileged condition of a mind that it alone understands what happens in a tower of a puzzle game. In this case, leadership must be a factor of the relationship between attention, perception and the projection of a hidden reality.
Mene, mene, tekel upharsin is the result of expectations beyond the imaginable that people make up after a spectacular magic number.
Leaving aside any theory of fairness and unfairness, leadership is a phenomenon of modeling reality that exists only through the support of a demonstration of magic subjected to a particular concept called "Hide."
And the effect of this phenomenon is discovered through the parallel observation of a series of distinct facts and through the intuition of an egocentric perspective of approaching knowledge.
