7. Play

A man sits at a table in an otherwise empty room. His plate is empty. The table is empty, save for the infinite variety of condiments stacked and scattered upon it. Now he sees them. They become demanding of him, each with it's own noticeable gravity, competing and colliding with each other like matter in the center of the universe. The condiments demand from him, imposing, growing, squeezing the air from the room. They would deflate if only he could stand.

But he cannot. So he lifts his hand from his plate to his mouth, and takes a slow bite, dazed by the lights of the universe before him.

The Play ends here.

5. Expose

 Whereas the imposing disposition deals with confidence in ego-image and targets the alteration of the world in accordance with this image, the exposed disposition instead targets the being it's self for change. This is the mood of openness, flexibility in ego-image, and the mood of learning. Here, we let ourselves be pushed and changed by the forces around us, whether it be people, argument, art, nonsense, etc. or a lovely combination of such things.

It is a dynamic mood. One of uncertainty and questioning. Here the 'nothing more' is not silenced by the flamboyant correctness of the ego, it is as present as the invisible potential for death which surrounds us in each of our most mundane of days. It is a mood opposing the finity of definition. Instead, in this open disposition, we find ourselves limitless to what we may be: I claim nothing, I am everything, insomuch as I am potential.

Such striving to behold a thing as infinite may be an odd and admirable goal. It has it's share of problems. We may attempt two routes. The first is the cluttered infinite defining of a thing, indeed paradoxical. The second is to strip all meaning from the thing, rendering it no-thing, beyond the defining word 'nothing'. This second attempt leading to anxiety.

In the first we behold an object, and with futility, 'begin' to behold it in each of it's possible defined forms towards infinity. We may begin by taking a tea cup for instance, and describing it first as 'tea-cup' then as 'bowl' and then as 'hammer', 'garbage', 'love', 'freedom', 'horse-nest' and so forth into everything so remote and obscure. And too, in order for our beholding to be open, this object must be understood in a balanced way. It can be no more 'tea-cup' than it is 'hammer' or 'love'. Meanwhile, as we describe this once 'tea-cup', now infinite thing, we can begin to see it shrinking. It shrinks and shrivels under the weight of our absurd endeavor. Here we are crushing it into everything, one definition at a time. The attempt however fails us humans immediately with the decision to attempt to see the object as infinite way to begin with. This desire to see a thing infinite, being a disposition and the one which is guiding our endeavor, ends up sabotaging our balanced crushing of the object. At the very least, the exercise may serve as a flawed replica of a thing infinite.

8. Notes

1. Perhaps I'm being a douche with words.

2. A naughty professor of mine once made the argument that students should be more confident in themselves. I couldn't disagree more.

3.

0. Play

A man sits at a table in an otherwise empty room. His plate is empty. The table is empty, save for the infinite variety of condiments stacked and scattered upon it. The man cannot see the condiments, they are too small, unimposing, and he is distracted by his mind. The wisdom of fast-food philosophers ride, speeding though his mind, Screaming: "You are what you eat".

The Play begins here.

Lov3

Perhaps I'll understand better when I'm younger.

( I later understood that nothing could have been further from the truth.)

Relativism

Makes the world difficult to understand. If we seek all truth to be relevant to the being, how can we understand each other. We would have to approach each human being supposedly thinking nothing of them. Such silly naivety acts as THAT. Naivety. We cannot understand more about the person by avoiding the truths we know about them already.