The evil eyes of carnal perception condition the reflexes and physiology of the central nervous system. I am starting to look at creating a social dreaming experiment where I test the hypothesis that this effects indirectly the menstrual cycle of women, and the biological hormonal cycles of men. This has far reaching and sometimes devastating effects on the health of the human organism, and most possibly also the human psyche, both male and female, from each sex to the effects upon the opposite sex.
The evil eye is only drawn to stimulation of the central nervous system and its reflexology.
The primary artistic and literary values of our society is currently nudity and pornography, the kind of prurient interest that guides the reflexes of the stimulation of the evil eye. This type of visual fixation affects me profoundly, making me somewhat physically and psychologically less than healthy whenever I confront the demand for the male or female gaze upon the semi-nude images that permeate social media and the media in general.
I do empathize with the need for the regulation of stimulation of the libido, in part by the condition of the evil eye through the use of imagery of a kind that meets the needs of prurient interest but subverts the expectations of the viewer, and educates the evil eye and causes a cathexis of the libido away from arousal and towards higher, more civilized aims and ends, such as an art and a literature that has more ethical values, such as those that are gratified by the knowledge of the imagination, and not by the base emotions and passionate drives of humanity at present.
I think this presents a unique ethical and logical challenge to the civilized society to respond to the dire emergency that this represents. In supporting the consciousness of undress, and semi-undress, we are robbing people of the beauty of the actual socialization process of the kind of romantic love and the kind of ethical sense restraint that can lead to successful relationships and social intercourse. In fact, this prevents the society from reaching its goals of loving oneself, and being loved by one another, which is a basic human psychological mental health need and goal.
As a type of artist and writer, I am compelled to advance my way of seeing to the reframing and reconfiguring of the stimuli of excitement into something else, a decontextualization, a recontextualization, of the stimuli into the imaginative and neo-imaginist modes of representation, which are based on the artist or writer as a bizarre perceiver, a kind of geometric naturalist of the bizarre ways of seeing the world as if through a mirror darkly, or through the ceremonies of fire worship and the lies of negotiation with the devil inside each and every one of us, which psychoanalysis gives the term the collective id, as a type of contract for safety from the predatory urges which are becoming more and more the norm of late.
My personal artistic challenge and response to the present dilemma of the castration anxieties and complexes of the men and women who are our peers and compatriots is to draw my every sensory delusion in a way that shows that the image reflects no prurient interest, but is beholden to a kind of bizarre perception that defies objectivity and sexual suggestion. I am making an exploration of identity and status in our culture and an exploration of the concepts and relationships that form the stories of our lives. I want to put the imagery of excitement into its place into subculture and in a way so that it won’t threaten the dominant culture’s values of truth, beauty, justice, goodness. And I hope that the peace and true and real lasting committment into the social contracts of love will help my repurpose my own identity and rebuild my identity in some way that is not subject to delusive influences.
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