It’s hard to imagine or explain the intrinsic affect a muse has on your internal world. It becomes a mass of confusion – exposed- and at the same time subsumed by a mantle of desire and resistance.
It’s agonal and Lazarus coming together.
The breath is excoriated by unannounced whimpers of assent, how to describe this whimper or expelling of tiny gasps, it’s like breathing in and out his spirit, the sound of a crampon digging into the snow.
It never materialises just vaporises throughout the body leaving a simulacra on the inner shell, curling slowly around the organs and resting on the libido, it’s a killing sensation of rapture.
The rapture when the breath peaks is pleasure beyond thought.
And the muse is not even there. If he was it would be death by breath.
Then you let it go.
Unless the muse is a willing and participatory ingredient in the mix-you will lose control-so absolutely overpowering is this fervid entanglement- it will create actions the antithesis of what is considered the norm.
The muse-artist togetherness puts the psyche into a creative, sexually releasing energy putting demands on both of them-the key is resisting.
Resistance the hindrance to the flow of charge.
Hence creativity. It’s hard.
Why does everything pleasurable involve resistance.
Why does compliance bring out ‘Fake Plastic Trees'(radiohead).
How and why did the muse enter the infundibular holy grail of this shit holding temple?
In philosophy and mathematics, Newcomb’s paradox, also referred to as Newcomb’s problem, is a thought experiment involving a game between two players, one of whom purports to be able to predict the future. Whether the problem actually is a paradox is disputed.
TETHYS was the Titangoddess of the sources fresh water which nourished the earth. She was the wife ofOkeanos, the earth-encircling, fresh-water stream, and the mother of the Potamoi (Rivers), Okeanides(Springs, Streams & Fountains) and Nephelai (Clouds). Tethys was imagined feeding her children’s streams by drawing water from Okeanos through subterranean aquifers. Her name was derived from the Greek wordtêthê, “the nurse” or “grandmother.”
As a Titan daughter of Ouranos (Heaven), Mnemosyne was also a goddess of time. She represented the rote memorisation required, before the introduction of writing, to preserve the stories of history and sagas of myth. In this role she was represented as the mother of the Mousai (Muses), originally patron goddesses of the poets of the oral tradition.
Finally Mnemosyne was a minor oracular goddess like her sister-Titanes. She presided over the underground oracle of Trophonios in Boiotia.
TETHYS was the Titangoddess of the sources fresh water which nourished the earth. She was the wife ofOkeanos, the earth-encircling, fresh-water stream, and the mother of the Potamoi (Rivers), ￼Okeanides(Springs, Streams & Fountains) and Nephelai (Clouds). Tethys was imagined feeding her children’s streams by drawing water from Okeanos through subterranean aquifers. Her name was derived from the Greek wordtêthê, “the nurse” or “grandmother.”
In Greek vase painting Tethys appears as an attributeless woman in the company of Eileithyia, the goddess of childbirth, and her fish-tailed husband Okeanos. In mosaic art she appears with a small pair of wings decorating her brow, probably in her role as the mother of rain-couds.
RHEA was the Titanis mother of the gods, and a goddess of female fertility, motherhood, and generation. Her name means “flow” and “ease.” As the wife of Kronos (Time), she represented the eternal flow of time and generations; as the great Mother (Meter Megale), the “flow” was menstrual blood, birth waters, and milk. She was also a goddess of comfort and ease, a blessing reflected in the common Homeric phrase “the gods who live at their ease (rhea).”
THE AUTOMATONES were metalic statues of animal, men and monsters crafted and made animate by the divine smith Hephaistos. Automatons were also manufactured by the great Athenian craftsman Daidalos.
Plato, Euthyphro 11d (trans. Lamb) (Greek philosopher C4th B.C.) :
“I am a more clever artist than Daidalos, inasmuch as he made only his own works move.”
Plato, Meno 97d :
“Sokrates : You have not observed with attention the images of Daidalos. But perhaps there are none in your country.
Meno : What is the point of your remark?
Sokrates : That if they are not fastened up they play truant and run away; but, if fastened, they stay where they are . . . To possess one of his works which is let loose does not count for much in value; it will not stay with you any more than a runaway slave: but when fastened up it is worth a great deal, for his productions are very fine things.” [N.B. Socrates pretends to believe the old legend according to which Daedalus, the first sculptor, contrived a wonderful mechanism in his statues by which they could move.]