Pretend to be blind, but never let yourself be hypnotized.
I had everything I needed to become a poet, except poetry. Another essence of the reality of the poem was love, which crossed like an incandescent thread all the corridors of this palace where the only rule was the game. The unification of forces of different orientations (reactions) manifested at the boundary between the real and the unreal, being almost insensible in an area of responsibility for well thought-out and well-done work. They were filming disparate sequences in which other decors always appeared.
Subject: God does not exist. I was the main character: Nicholas Urfe. The director was: Conchis, under the appearance of a Mephisto who demanded unfaithfulness. He said he could imagine how hard it was to play with him, because he did not have a technique to rely on if he did not get along with the game partners. I replied that when the partners agreed, everything went perfectly. In fact, it was just an occult practice, a form of hypnotism allowed in a realm of magic and costumed characters, in which his life became my life.
James Braid, who invented the term "hypnotism", argued that focusing attention is essential to creating the hypnotic trance. I did not have the right to any extravagance, I had to obey to Conchis's harshness, that of considering myself defeated by a reality invented by a creator who sparked a universal order in a poetics of masks, forgetting to install in it a balance of the eternal. The thought of a young aristocrat, bored, very common, altogether, without irony, like any Englishman in a normal situation, which I have always shown, has changed my mind.
Leadership: Are you ready to believe in a creator who consumes unique game experiences in order to give reality the nuance of an original self-expression that emphasizes the achievement of perfection through characters meant to portray a multiplicity of possible worlds?
Doctor Moreau’s spectrum in Wells’ work was also visible in every shadow of Conchis: "I might be wrong, but I have seen more than you in the models of the Creator of this world – for I have researched the laws in my own way, all my life, while you were collecting butterflies. And, I say to you, pleasure or pain have nothing to do with heaven or hell."
It can be seen that the world that Conchis had deliberately built to change my world, emphasizing the visibility of another version of reality, a kind of Ecristroterhis , or the peculiarity of wearing a mask in the beautification of a work of art, seemed to be extracted from the effort to reveal the depths of an experience that is both existential and fictional.
And one more thing: a blonde woman in a double role. And a brunette that expands her role through a negative formulation of "forgetting". The bishop is next to me played, following the capture of the queen, through which White hopes to take advantage of the long diagonal. The black king, a kind of perfection, something divine, above his characters, stood hidden behind a splendid charade, something that made sense through a complex collection of different types of masks. All contributing to an atmosphere of hallucination, trance in which things, entrances, surrealistic outings were occurring in which characters, gestures, music appeared and disappeared, without necessarily linking the elements of a construction.
Remarkable was the tact Conchis was capable of. His world was another face of the same character. And the world of other actors in the scene was the exploration of a single character who portrayed a multiplicity of possible worlds. Many threads and processes in the background. A world built from the revelation of hard-to-reach data, for the simple fact that not everyone can penetrate to the depths of magic to exist as a simultaneous witness of the chessboard and a dream too bold to be fulfilled.
Even the queen’s gambit (recovered by the transforming power of the modest pawn) was the genius move of a woman, unmatched by her beauty, which Conchis put in front of me to test my ability to concentrate. I escaped only through the actions of the madman, through the situation of the madman between magician and world, starting the other way around, always on the diagonal of an indestructible truth: “no character exists if he does not find himself in another world, and no character escapes the metamorphosis it offers the spectator a new metaphysical universe, resulting from the sublimation of the characters into a reality of double mirrors”.
Leadership: How do you manage situations experienced by raising awareness of the momentum of a sense force opposite your essence, manifested at the existential level through a permanent change of the scenery of reality?
Who can find the last verse in the mind of a man lacking poetry? Who else can adapt to a world that hides the key to a poem revealed by: "imaginary perception" ? Can you speak a language that holds a brilliant mind trapped in the chess game’s trap, under the guise of a magician who follows you like a ruthless storm on your journey to change? There is no soul power that is not active in this process.
Alexander von Humboldt, who contributed to geography as a scientific discipline, said: "Nothing in the intimate nature of man is so deep, so fine and so pervasive that it does not thrive in the realm of language and isn’t fed by it."
Eleftheria is a noble word in Greek. It means freedom. Conchis gave me the last blow: "If you forget this word, I will give you eight lives. If you remember it, you will be my prisoner forever."
Poetry is wisdom. The key is freedom. Masks are the exploration of life. And magic is love. The game is the permanent change of the decor. The hunter is me. And the spoil is you. The question is as follows: how long can you stand the great charade before releasing from it? There’s only one way to find out: Play !
In all this crystal globe that functions as a German machine, used only for clairvoyance, where God is nowhere, it would fit as a revelation of what Aldous Huxley eventually wanted to make us understand: that people In "The Wonderful New World" do not suffer because they laugh instead of meditating, but because they do not know why they laugh and why they have ceased to meditate.
The application of masks, or the magic of using mirrors that distort reality, is the consequence of introducing a special order, a formula of compromise in the space between director and character, so as to arouse in viewers the curiosity to “scan” each scene in the show of an exalted imagination and to perceive it as an extension of a new vision of life, of the world.
Shards from the Reality of a Misunderstood World are often unbearable.
Leadership that is not much talked about, but which enters into the existential composition of the man who does not content himself with a passive role on the world stage, is actually an extension of the rational understanding of why everything is not the way it is.
Leadership, in the great equation of the unknowns of this world, in which the idea of freedom remains only a hypothesis with a chance of success, a variant of the cause of the original chaos – in the sense that darkness can triumph through the richness of ambivalence and ambiguous images, is the struggle of those who manage to remove the obstacles preventing their fulfillment.
And the process of exploring leadership is similar to the world understanding process, defined as a "cognitive transmission, which can be mastered by the effect of the law that says: "Pretend to be blind, but never let yourself be hypnotized."