On a recent 40-day meditation
retreat, I experienced a wave of self-hatred so shocking, so intense, that it
changed the way I relate to sexuality, guilt, homophobia, and healing. I want to tell you the story.
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Synchromysticism, according to its creator, Jake Kotze, is "the art of realizing meaningful coincidence in the seemingly mundane with mystical or esoteric significance." This emerging field of study reinforces the interconnectivity of everyone and everything, empowering us to "decode"
the universe and ourselves.
Modern science could solve most of the urgent problems in today's world. Yet the problems that stand in the way are not economical or technological; their deepest sources lie inside the human personality. After more 50 years of intensive study of holotropic states of consciousness, I have come to the conclusion that the theoretical concepts and practical approaches developed by transpersonal psychology could help alleviate the current global crisis. These observations suggest a radical psychospiritual transformation of humanity is not only possible, but is already underway.
Powerful entheogenic substances were clearly utilized by the shamans and skywatchers working in the ancient Mayan city of Izapa. The profound integration of celestial, psychological, ritual, and mythopoeic elements found at Izapa bespeaks the psychedelic influence. Could the use of hallucinogens explain how the ancient skywatchers became aware of the Galactic Center? And what mysteries does the Galactic Center contain?
When I think of Kehinde Wiley's paintings, a couple of affiliated effects come to mind. In his work we look at history juxtaposed with a really unstable relationship to realism. But I don't want to start an essay with quotations from history – after all, that's what Kehinde Wiley's paintings are already doing. The essential issue at hand is to give some context to portraiture, hip hop visuality, sampling, collage, and quotation. I want to unpack some of the issues that Wiley engages in his work.