Transpersonal Philosophy

  We can think about the composition of the Tripartite Soul in terms of seeds. Anaxagoras of Clazomene used the concept more than 2.500 years ago in order to form a representation of Reality. The seeds that our Triple Soul brings from other lives, the seeds of transpersonality, continue their course in a fundamentally unconscious way in relation to the small and fragile narrative of identity with which we identify, a narrative that is basically emotional and intellective. From the point of view of the seed, present, past and future coexist. The image of an event that is going to happen is an emotional and intellectual image that can only be meaningfully produced when the mental and emotional processes are mature so that the content that was always in you as a seed resonates in them. Every day we receive projections of these seeds in dreams, but we cannot make them conscious if our mind and our emotion are not harmonized with the Volitive Soul, so we forget the forma...

  Podemos pensar la composición del Alma Tripartita en términos de semillas. Anaxágoras de Clazomene utilizó el concepto hace más de 2.500 años para intentar formar una representación de la Realidad. Las semillas que trae nuestra Triple Alma de otras vidas, las semillas de la transpersonalidad, siguen su decurso de una manera fundamentalmente inconsciente para la pequeña y frágil narración de identidad con la que nos identificamos, una narración que básicamente es emocional e intelectiva. Desde el punto de vista de la semilla, presente, pasado y futuro coexisten. La imagen de un acontecimiento que va a suceder es una imagen emocional e intelectiva que sólo puede producirse con sentido cuando los procesos mentales y emocionales están maduros para que en ellos resuene el contenido que siempre estuvo en ti como semilla. Todos los días recibimos en sueños proyecciones de esas semillas, pero no podemos hacerlos conscientes si nuestra mente y nuestra emoción no está armoniz...

  The understanding of the “I Am”, of Atman, becomes a farce when we do it from one of our masks, no matter how spiritual we believe that such mask is. Farce is the grotesque grimace of a Rakshasa (a hostile being of the subtle (sub-limen) vital plane that interferes in the planes of everyday experience) when someone proclaims himself/herself to be a god, or a victim of the gods, that is, when we raise any perverse psychological limitation to the rank of a power in the Universal Game. To understand “I Am” is to be it. There are two paths: that of the gnani and that of the bhakta . The path of the gnani is the path of impersonal knowledge: direct, fast, difficult due to its extraordinary simplicity, simple if we allow ourselves to be invaded by the omnipresence of Sat and Chit . It is a knowledge not of objects, but of the Subject. We know the knower by being the knower. The path of bhakta is that of unconditional Love, surrender to the Beloved. It can be relativel...

  El entendimiento del “Yo Soy”, de Atman se convierte en una farsa cuando lo hacemos desde una máscara propia, por muy espiritual que creamos que tal máscara es. La farsa es la grotesca mueca de un Rakshasa (un ser hostil del plano vital sutil (sublimen) que interfiere en los planos de la experiencia cotidiana) cuando alguien se autoproclama un dios, o una víctima de los dioses, es decir, cuando elevamos cualquier limitación perversa psicológica al rango de una fuerza de poder en el Juego Universal. Entender “Yo Soy” es serlo. Hay dos vías: la del gnani y la del bhakta. La vía del gnani es la vía del conocimiento impersonal: directa, rápida, difícil por su extraordinaria simpleza, sencilla si nos dejamos invadir por la omnipresencia de Sat y de Chit . Es un conocimiento no de objetos, sino del Sujeto. Conocemos al conocedor siendo el conocedor. La vía del bhakta es la del Amor incondicional, la rendición ante el Ser Amado. Puede ser relativamente rápida, es directa, ...

  The ego is the force of psychic centroversion, that which establishes points or frames of reference. Without the coordinate point (0,0) we cannot orient ourselves or act. The ego is the force that builds an unlimited number of references, of centers around which different formations of the Soul will appear. In Sanskrit it is called Ahankara. Aham means “I”, kara is “the process of doing or carrying out”. As a compound word, Ahankara means “the process of making or uttering the ‘I’ ( aham ).” The ego is an action, a force that establishes or says the “I”, that lays a fundamental reference stone with respect to another action. For example, the human organism spontaneously performs the physiological action of seeing, the organ of sight is set in motion automatically, and automatically a force also appears that assigns another action to the function of vision: the action that says “I ”. The synthesis is “I see.” It also happens in animals, for the action ...

  El ego es la fuerza de centroversión anímica, aquello que establece puntos o marcos de referencia. Sin el punto de coordenadas (0,0) no podemos orientarnos, ni actuar. El ego es la fuerza que construye un número ilimitado de referentes, de centros entorno a los cuales apareceran diferentes formaciones del Alma. En sánscrito se llama Ahankara. Aham quiere decir “Yo”, kara es “el proceso de hacer o llevar a cabo”. Como palabra compuesta que es Ahankara, significa “el proceso de hacer o proferir el ‘Yo’ ( aham )”. El ego es una acción, una fuerza que establece o dice el “Yo”, que pone una piedra referente fundamental con repecto a otra acción. Así por ejemplo, el organismo humano espontáneamente realiza la acción fisiológica de ver, el órgano de la vista se pone en marcha automáticamente, y automáticamente también aparece una fuerza que a la función de la visión le adjudica otra acción: la acción que dice “Yo”. La síntesis es “Yo veo”. Ocurre también en los animale...

  When a part of the body is anesthetized, for example, the legs, the feeling that I am not the legs is clear. To consider that I am the body I have to feel it. Actually, I am calling “my body” the nervous sensation that my memory has cataloged as my body. My grandfather had his leg amputated due to gangrene. My father had not told him that they were going to amputate his entire leg, and he went into surgery thinking that they were only going to amputate a couple of his toes. As the anesthetic wore off from his system, he began to complain that he had pain in a foot that he didn't have. This is called in medicine the persistence of a phantom limb. But the entire physical body is like a phantom limb that appears or disappears in images of joy or pain. At this very moment, your cerebral cortex appears only as a concept from this phrase, but in 10 minutes it will disappear like a ghost. You don't feel it and for it to exist in your experience you have to make a menta...

  Cuando nos anestesian una parte del cuerpo, por ejemplo, las piernas, la sensación de que yo no soy las piernas es clara. Para considerar que yo soy el cuerpo tengo que sentirlo. Realmente, estoy llamando “mi cuerpo” a la sensación nerviosa que mi memoria ha catalogado como mi cuerpo. A mi abuelo le amputaron una pierna por gangrena. Mi padre no le había dicho que le iban a amputar toda la pierna, y entró en el quirófano pensando que sólo le iban a quitar un par de dedos del pie. Según la anestesia se disipaba de su sistema, comenzó a quejarse diciendo que le dolía un pie que no tenía. Esto se llama en medicina la persistencia de un miembro fantasma. Pero todo el cuerpo físico es como un miembro fantasma que aparece o desaparece en imágenes de gozo o dolor. En este mismo instante, tu cortex cerebral aparece sólo como concepto a partir de esta frase, pero en 10 minutos desaparecerá como un fantasma. No lo sientes, y para que exista en tu experiencia tienes que hacer ...

  We learn by repetition, but we understand by sympathy. Musical harmony, the series of overtones, is the expression of unity in multiplicity that occurs due to sympathetic resonance. The Remembrance, the Dhikr that the Sufis speak of, is that: resonance through sympathy, letting vibrate, allowing life to activate the seed that our soul wishes to express in this existence. The identity mask can hinder that “sympathy vibration”. As you know, the Latin word “persona” literally means the mask of the theater actor. It is through that mask that the actor “sounds” his/her part in the work, “per-sonat”, “through-sounds”, but the actor is not the mask, and she knows it. In the hells of the Hindu, Jain and Buddhist traditions, their inhabitants are completely absorbed in the scene before them, just as the cat fascinated with the ball of wool forgets everything around it, and they do not remember that they are wearing the mask of a person who suffers in a particular hell. This ...

  Aprendemos por repetición, pero entendemos por simpatía. La armonía musical, la serie de armónicos, es la expresión de la unidad en la multiplicidad que se produce debido a la resonancia por simpatía. El Recuerdo, el Dhikr del que hablan los sufís es eso: resonancia por simpatía, dejar vibrar, permitir que la vida active la semilla que nuestra alma desea expresar en esta existencia. La máscara de identidad puede entorpecer esa vibración por simpatía. Como sabéis, la palabra latina “persona” quiere decir, literalmente, la máscara del actor de teatro. Es a través de esa máscara que el actor “hace sonar” su parte en la obra, “per-sonat”, “a través- suena”, pero el actor no es la máscara, y lo sabe. En los infiernos de las tradiciones Hindú, Jainita y Budista, sus habitantes están absortos por completo en la escena que tienen delante, como el gato fascinado con el ovillo de lana olvida todo a su alrededor, y no recuerdan que llevan puesta la máscara que pad...

  All those who begin to walk along the so-called spiritual paths hear to talk about the concept of “enlightenment” from very early on. It is identified both with a particular psychological state of a person and with a process that that person carries out with greater or lesser efforts. Psychological states are states of our Tripartite Soul, not states of “I Am.” The “I Am” is always what it is, it does not become anything in particular although nothing is without the “I Am”. What does enlightenment consist of?” Allow me to clarify another more fundamental question: “Who is enlightened?” The answer is simple: the ego is illuminated. Let's clarify this. If enlightenment is a process or a state of our Soul, when we create an intellectual image of that state, we are creating a narrative of that particular state, and we will give one description or another, but using conceptual representations, which are always the result of an egoic action of centroversion of the organis...

  Todos los que comienzan a caminar por las llamadas sendas espirituales escuchan desde muy pronto el concepto de “iluminación”. Se identifica tanto con un estado psicológico de una persona como con un proceso que esa persona lleva a cabo con mayores o menores esfuerzos. Los estados psicológicos son estados de nuestra Alma Tripartita, no estados del “Yo Soy”. El “Yo Soy” es siempre lo que es, no llega a ser nada en particular aunque nada es sin “Yo Soy”. ¿En qué consiste la iluminación?”, permitidme que aclare otra pregunta más fundamental: “¿quién se ilumina?”. La respuesta es sencilla: se ilumina el ego. Aclaremos esto. Si la iluminación es un proceso o un estado de nuestra Alma, cuando creamos una imagen intelectiva de ese estado, estamos creando una narrativa de ese estado, y daremos una descripción u otra, pero usando representaciones conceptuales, que son siempre el resultado de una acción de centroversión egoica del organismo. Tu Alma se ilumina, pero el “...

  The transpersonality of the Soul makes the understanding of what we call "personal identity", the egoic mask narrative, impossible without the understanding of the group identity to which we belong. That is why it is important to know mythopoetics, the symbolic construction of identity of our culture. Myths are transpersonal in social terms (we could say: transocial) , and that is what the concept of "Mythologem", coined by Karl Kerenyi, illustrates. The term designates the common elements in myths belonging to different traditions, like the tales of the Sacred Child, the descent of the hero to the underworld, the marriage of the King-God to the Earth Goddess, and so on. [for more on this see my little essay on mythologems: https://construccionsimbolicaidentidadhumana.blogspot.com/2013/09/what-is-mythologem.html]  The transpersonality of the masks of gods and their actions has produced all kinds of confusion. The superimposition of one myth on anoth...

 

  The bard is blind for having seen the Goddess of Beauty bathe naked. Many are the names of Tiresias. The Argentine bard Jorge Luis Borges had a vision in light of his intimate blindness. Legend has it that when the battle of Contarf ended, that feast of crows in which the Norwegians were defeated, the Great King of Ireland quickly called his court poet, repeating what the kings of Mycenae once did. He asked him to compose a song of victory and greatness, as if both things went together, as if war could make someone great. He gave him a year to compose it and some gold, some say a rare ring on which was inscribed the name of an old dragon. When the year completed its journey, the poet presented an extensive panegyric full of great literary figures, a dazzling manifesto in which the sword was called “oar of battle” and “helm of justice.” He recited it with the confidence of someone who masters his craft, without looking at the manuscript and with a hypnot...