Old Abrahamic religious mindsets in new IT companies (part 12)

⟵ Old Abrahamic religious mindsets in new IT companies (part 11)

By the end of part 5 of this series, I mentioned in passing One Hundred Years of Solitude of Gabriel García Márquez as one of the Latin American cultural products revolving around the topic of living within a psychological bubble. It is about the specific approach with tendencies to marry close relatives, which makes easier continuing classical human thinking processes when facing the awareness of the diachronicity of the present tense. After writing the previous part about the real life tribulations of Islam, I remembered that novel again and I re-read it (as I read it years ago when I had no inkling of the things I write about in this series).

It turned out to be an interesting counterpart. The main drive in this case is the tendency for consanguineous relations. The patriarch José Arcadio Buendía marries his first cousin, which precipitates a “Hegira” and then a “Medina period” immersed in organization. He founds a new city with the vibe of a great new beginning and a joy of masculine direct look into the process of organization. It is not about a man who simply is organization and takes for granted the psychological structures growing in his mind. He can see them in a fluid manner as a result of the use of the feminine view of an ecosystem of meaning as a bubble amid a huge unknown and in this bubble you can swim fluidly in the accumulated culture.

The relation with a close relative can keep that bubble as a classical masculine concept of an ecosystem about everything that can expand in any direction, not so much as a bubble amid a huge unknown as in the original feminine development, as in the otherness of a partner you end up sharing the sense of self with. “There was something stronger than love connecting them, they were cousins”.

Another difference is the source of awareness about what is beyond the bubble. It is not a “broken telephone” as in the Muslim case, with Muhammad sensing an uncovered niche in Christianity, while having no idea why Christianity was avoiding that and thus losing on the way the Jewish perception of the complexity beyond the bubble. In the novel, groups of Gypsies bring all kinds of novelties about the larger world and specifically the first group has a knack to relate with that good feeling of seeing things fluid and afresh from an organizational perspective and open the mind about how much more is beyond one’s bubble.

The Romanis (Gypsies) are one of those populations of Asian origin that see the world in terms of Yuh Yuh of the Turkish singer Koray Avcı. These populations have the tendency to make a clear distinction between their culture and the rest of the world as a huge, complex unknown. Some of them tend to give blanket terms to people who are not immersed in the culture they experience themselves fluidly within the bubble, like Jew/goy, Romano/gajo, Japanese/gaijin. The Latin Americans have similar tendencies, Latino/gringo, which feel like stemming from the same Asian mindset through the Amerindian background.

I remember a BBC article about how certain phonemes tend to convey specific feelings across cultures. “G” was described as conveying otherness, but I don’t have idea of some right keywords to find the article now. When I was searching, I realized that Google itself, as the contemporary ultimate quest into the unknown beyond the bubble, starts too with “g”. All the aforementioned populations have in fact originally a plurality of terms for others, but it looks like those starting with “g” tend to prevail after a while.

These populations can be very closed-off, if they feel too much the pressure of that huge unknown beyond. But ultimately the important aspect is that they are aware of that and they can as well be immersed fruitfully in what is beyond the bubble. The original experience is about an utter experience of what is beyond. Consanguineous and pedophile approaches to deal with that are subsequent palliatives. Maybe the consanguineous approach not so utterly palliative. I am not personally interested in that, but I don’t feel like it should be condemned right out of the bat as in the pedophile case. I wouldn’t want to see what I write here turned into an easy vehicle for public condemnation of consanguineous relations. Have some wonderment about what is going on and how to address the situation, more study around the issues is necessary.

The Latin Americans have some similarities to the Russians and Koreans in the Altaic context, namely that they have a veneer of a mindset from another cultural area that is not so aware of what is beyond the bubble and they can be under the impression that they can deal with that fluidity in classical psychological terms of linear expansion of knowledge. Something like this is the initial approach from the novel, only to have an opening of the mind to what is unexpected beyond the bubble under the Romani influence.

This is an opening to the full course of the diachronicity, not a “broken telephone” as in Muhammad’s case. José Arcadio Buendía has a great feeling about such realizations and he is so drawn into that, but this does not turn into a simplistic limited perception as that of Muhammad. He really deals with the full course, plus the Latin American veneer impression of European origin that he can just expand knowledge in any direction. His classical masculine self-centered approach is quickly overwhelmed. It is like a quick reach of the basic issues of the state of mind from Maslahtak of the Egyptian singer Ehab Tawfik, but under the full-course immersion as in Ew3a El Wa7sh of the Egyptian singers Hassan El Kholaey and Johara (Maslahtak is a long-term accumulated overwhelmed state of mind that still continues the outlook that made Islam originally viable for a while, namely the pedophile approach plus the “broken telephone” cluelessness regarding the complexity).

He seeks to find himself a way to the larger world, as their town is very isolated, but he fails. When his first-born son runs away with the Gypsies, the matriarch Úrsula chases after them with the hope to reach them and to get him back. She fails, but on the way she finds a path to the rest of the world, as she does not think so linearly. The connection brings a richness of exposure to the larger world, but in a more classical human manner, without immersing a masculine mind in that huge amount of perceptions as in the case of the “Gypsy ideas” she ended up being weary of. José Arcadio Buendía returns to his initial less overwhelmed “Muhammad-like” joy of organization.

This does not last long, as Melquíades, the Gypsy guy who was so inspiring about the view from that huge amount of perceptions, returns to stay with them for a second chance to live. From their perspective, the people from those populations immersed in the huge amount of diachronic perceptions can find themselves interesting a more limited approach, when they see other people with what feels like an unexpected clarity of the mind stemming from a consanguineous or pedophile approach (and also Christian masculine focus on Mary’s “virginity” that I will get into more detail on some other occasion).

However, it likely soon turns into a better understanding of the inherent limitations and of the way the unfoldment of the full-course diachronicity overwhelms and sweeps away after a while such unexpected islands of simplistic clarity. In this case, after Melquíades’ return, José Arcadio Buendía enters again in that overwhelmed state of mind, now with no escape, while Melquíades finally understands the larger course of history about this island of clarity and he realizes that it is no refuge from death.

The matriarch Úrsula is noticing powerlessly on the sideline the craziness of the men, but she is too caught in the impression that applying diachronicity in real life means just dealing with the situation at hand. Women who become psychologically strong when facing the difficulties of real life may enter in a shortcut of just taking for granted the existing situation and applying the diachronicity around it. They are not in a position of power to organize things the same as the men to face much more directly how much arbitrariness is in the current sense of organization. They sense the arbitrariness through the diachronic perspective, but they are under impression that there is a core of “truth” in the classical masculinity.

When she is caught herself in the “Gypsy outlook” (when seeking to get back her son), she has some realizations around how to see what is beyond the bubble from that perspective that understands that there is no classical sense of “truth”. However, she simply assumes that as a situation at hand too, taking it too for granted as having a core of synchronic “truth” in it that can deal with the diachronicity in a mysterious way the men can sustain. This offers a stabilization for her husband, he is back at a “Medina period” that is not so overwhelmed by the diachronicity and he can organize things fluidly, now with an opening for what is beyond the bubble.

But this is just an intermezzo before inevitably realizing the larger perspective. Without the opening of the mind spurred by Melquíades, both the before and the after of the intermezzo would have happened anyway, in a Muslim manner as a long-term increasing decrepitude. In this case, Melquíades himself finds interesting and inspiring this psychological space of the Buendía family, as an unexpected clarity of the mind in dealing with the diachronicity. Only to end up with a better understanding of what is the full-course diachronicity about.

To give again some musical examples in the Altaic context that are so valuable for showing the psychology of the situation, Jalğız-aq bile of the Kazakh singer Nurjan Kermenbaev shows that kind of women who end up so narrow-minded from the impression that dealing with the hardships of real life means applying diachronicity only to the situation at hand. In this case, the women are really narrow-minded, Úrsula is still not like that. But there is a saving grace in ending up so narrow-minded. Namely that in the background of her mind the woman has some realization of the complexity of the diachronicity and the increasing monotheistic-like narrow-minded outlook is a desperation to sustain the belief in a “truth” at the core of the classical masculine organization. She really ended up thinking much more than it is usual in classical femininity from the point of view of the diachronic psychology. The diachronic psychology increasingly makes sense, but this does not automatically offer organizational solutions.

This is what fuels what is worst in the Abrahamic religions, while it is also a saving grace from another angle when you see the decrepitude from Islam, as a palliative Abrahamic “solution”, and the decrepitude from One Hundred Years of Solitude. This musical example of Nurjan Kermenbaev is not specifically about the Abrahamic context, it is about the basic psychological situation in some Asian cultures, which took some unexpected turn in the Jewish case. Further on, the Islamic mindset found a palliative “solution” to that Jewish desperation, but it lasted only for a while, ending up too in the basic Jewish issues, but while continuing with the misleading impression they have the solution.

Such women, while they may be under impression that classical masculinity can deal with the full-course diachronicity, they end up themselves to some extent dealing with the full-course diachronicity as application in real life. The saving grace is that this is how it is introduced as a larger application to the men. The women realize themselves to some extent how it is like to relate the full-course diachronicity (as a sense of organization in itself) with real life and thus they introduce that to the men too. The problem is that the women have the reaction to stick to the belief that there is a core in the classical masculinity that can deal with that.

The basic start can be like in Kel yarashaylik of the Uzbek singer Umidaxon (more about her path in reaching that at Part 14 of The mindset of the populations of Siberian origin, as well as the previous parts for more context). It is about a woman who is under impression that the classical human sense of organization can deal with the diachronicity, she applies herself that in real life, only to end up in a huge complexity that makes her aware how much arbitrariness is in her ecosystem of meaning. Thus she ends up herself weary of any tiny diachronic divergence of meaning and seeking to save her psychological ecosystem by wrestling off the control of the situation that sustains it, as the men in Toñnuñ daa of the Yakut singer Künney, after Taatta and Çeeke.

Further on, specifically in the Altaic context, some women can wonder how does the diachronic complexity relate to the unfoldment of real life, as in Teläklärem sezgä of the Tatar singer Albina Karmışeva, or how to relate themselves to the unexpectedness of a more aware immersion in its psychology, as in Yalan (translation) of the Turkish singer Aleyna Tilki. The increased awareness in the latter example about how she has a plurality of threads of herself can open the mind to a more conscious work with the diachronic gist of a plurality of threads, as in İstikrarlı Hayal Hakikattir of the Turkish singer Gaye Su Akyol or in Yar Ali Senden Medet of the Turkish singer Yıldız Tilbe. Notice the plurality of cables around Umidaxon in Kel yarashaylik and the more immersive approach to this realization of a plurality of threads relating to the singer in Teläklärem sezgä and Yalan.

The men appearing out of the darkness by the end of İstikrarlı Hayal Hakikattir are about the feminine impression that masculinity can be refreshed enough to deal with all that fluid diachronic complexity and provide some sense of organization when the woman does not know what to do with the results of this fluid thinking, as when the bus breaks down in the video.

The basic feminine belief is that classical masculinity has a core that can deal with diachronicity, but this can gain further depth with more relevant organizational input for diachronicity, along with increased feminine experience about what really means to relate diachronicity with real life (the goalposts of the belief in a classical masculine core that can deal with that keep being moved further in depth), as well as about what predictable effects can appear from an opening of the mind of the man to the diachronicity. Like, for example, what is going on with the Kazakh singer Gazizkhan Şekerbekov in Erkekpin men (“I am a man”). This is the initial “wow” phase, in which the man is not so aware of the complexity incumbent in such a diachronic approach to life (although the woman may have sought to convey that too). Some years later, you see him in Dostarga (“To friends”), with Meyrambek Besbaev, where he begins to have some idea of the complexity unleashed by the diachronic fluidity.

The woman can work with this rather predictable path in which the man does not get the gist, in order to develop a new masculinity with reformed psychology based on the long-term accumulated feminine experience with diachronicity. For example, in Minem zakonlı hatınım of the Tatar singer Danir Sabirov, the woman kind of knows the predictable phases and she just works with them to develop the new masculinity, as she is not aware of and does not have other workable methods. She noticed that the man has some opening for empathy and that can be a good base to develop such masculinity. There is an initial “wow” phase in which the man feels good and, when the woman senses that he entered firmly in the diachronic paradigm, she retreats her support to let him deal with the complexity supposed by diachronicity (up to that moment, it was she who was assuming responsibilities of coherence around his organization).

All that ongoing support up to that moment was done in a way to develop a new masculinity in the man, which for Danir Sabirov appears afterwards embodied as the woman’s father, as a new sense of masculinity developed by the woman in the idea of providing organization for the fluid full-course diachronicity. This is something much more profound than a direct feminine impression that classical masculinity can deal with diachronicity, but it is still developed around the idea that it must be there in masculinity something that can deal with that. This new masculinity partly really has relevant psychology to work with diachronicity to the extent the women can provide that, but it is also partly developed as a mythical masculinity from the feminine perspective that masculinity has some inherent abilities to provide organization that a woman has no inkling how they work.

The latter part is left to the men to see what to do with. As there are no masculine direct psychological resources for that (they can be possible, but they require development by serious work with the complexity of real life), this new masculinity is rather observational in the mind of the man. When the man does not feel the diachronicity affecting too much his sense of organization, it can intervene like at the end of Opmay-opmay of the Kazakh band Aziya with Baqay to just provide some sense of organization to the psychological fluidity. When the man feels being in uncharted psychological territory, this new masculinity intervenes to study what is going on, as in Şudıñ boyında of the Kazakh singer Ahan Otınşiev. It depends also to what extent a man realizes it is uncharted psychological territory.

It is not necessary for these men to have undergone with a woman sought as partner something like in Minem zakonlı hatınım to have this kind of new masculinity. They can grow up with it to some extent, as a result of how many times it happened in the previous generations, it depends on the environment they grew up in. The Jewish God feels with the same basics, with developments with some other nuances that gave it such an important role in that case.

This in combination with the gradation that I wrote about in part 5 of this series (from something like in Qora parang to something like in Taatta) can also give some more context to what is an experience like in Yosef Hashem or Shema Yisrael about, as the idea is not so much about the “intensity”, but that the mind is refreshed and opened to a diachronic sense of organization (partly really relevant, partly with blank spaces left for the man to figure out what to do with them). There are occasionally intense Islamic experiences, mostly in Sufi mysticism, but those are about losing themselves in a pleasant fluidity, while not really entering in a new sense of organization for the full-course diachronicity. Structurally, they are in about the same idea as in Ew3a El Wa7sh of the Egyptian singers Hassan El Kholaey and Johara that I wrote about in the previous part. It feels good, while the man keeps the classical masculine organizational framework. And the more purist, “Islam as power” people use to reject them anyway, as these experiences suppose losing the organizational allure of Islam as reigning the psychological fluidity in some manageable proportions.

Those developments like in the Altaic and Jewish mindsets and their new unexpected sense of organization can make the men psychologically overwhelmed when they get more immersed in that, like in Kusa of the Kyrgyz singer Guljigit Satıbekov. But what I see as a saving grace here compared to the situation from One Hundred Years of Solitude is that this state of mind already comes with some degree of a feminine direct experience about how it is to relate the diachronic complexity to the unfoldment of real life from a decisional perspective. And this sets the man to have a better sense of the gist of the diachronicity.

He is not so prone to be under impression he can just expand in any direction, while too clueless about how overstretched he is. The background in something like in Kusa is that women from this cultural environment had themselves some realizations about how complex it gets when you really assume organizational responsibilities for the full-course diachronicity. They may still harbor some belief in an inherent classical masculine ability to provide organization for that, but the goalposts for the practicalities around this are moved further in a more relevant direction.

The woman may even still believe on the surface in the classical masculine ability to deal with the diachronicity, but in practice she already has herself some realizations about what supposes to think in a classical human manner from the diachronic perspective. Or she may have some more clear realization of the mental abyss of the diachronicity, as in Yalnız Çiçek (translation) of the previous Aleyna Tilki, starting with the awareness of “growing up on an abyssal cliff”. With this increased awareness, she can turn the tide of the classical masculine organization as control of the situation. The man may be under impression he controls the situation, but her expertise of working with a plurality of threads (the plurality of male characters) can turn all that control against him. Still, in this case, she leaves to the man the overall sense of organization, she does not step into that. The realization of the abyss still revolves around the masculine organization.

In such environment, you are not really able to fall into the fallacy of a “Medina period”, in which you are under impression you can organize the diachronic fluidity in classical manner. The feminine side already has some practical experience around relating diachronicity with the classical sense of organization. This creates lots of other problems, with a masculinity that has the classical thinking processes melted down until it remains only with the driving wheel out of it, as in Oşko of the Kyrgyz singers Totomidin and Surma.

This further on can slide into masculine organization with knowledge as control of the situation in which everybody has to go along with whatever unexpected direction the leader’s mind slid into and/or with a monotheistic-like obsession for order of the leader, as his specific clarity of the mind continuing classical human thinking while aware of the abyssal diachronicity. The initial feminine diachronic order in madness easily turns into madness in order, when there is an impression that classical masculinity can deal with that.

But this is the situation which you inevitably need to face, and the consanguineous, pedophile and “perpetually virginal” approaches are just palliatives. The Latin American outlook has some similarities to the Russian and Korean ones in the Altaic context, with a veneer of outside cultural influence that still does believe in a classical linear thinking. This can give the women the impression that the situation is manageable, they can work with the diachronicity in a classical ecosystem of meaning, it is not so abyssal (like Úrsula in One Hundred Years of Solitude providing a “Medina period” possibility for psychological expansion).

For the Korean context, I am aware of some feminine nuances in which they have an even better understanding of how diachronicity relates to real life, as a result of going through the practical application in real life of that veneer belief and through all the ensuing problems (it is also about some differences in the veneer, which is Chinese in the Korean case, respectively European in the Latin American and Russian cases). Such accumulated experience can open the mind much more in depth about the relation between the diachronicity and real life. It can give a clearer idea that the diachronicity is a world in itself and that the woman is opening the mind of the man to that.

Notice for example the three stages of this Korean traditional dance. In the first part the woman creates a mental passage for the man to the raw reality perspective. When it feels that the man is really immersed in that, it is time for the second part, when things get serious, this is how you can have this fluid power in dealing with the mental abysses of the raw reality. In the third part, now that you’ve got the idea, let yourself loose and plunge into this perspective.

Also this Taepyungso Sinawi of the Korean musician Gamin (Kang Hyo-sun), sustaining a line of clarity with the taepyungso (the wind instrument). This is forged in facing the difficulties of real life, but it is not a line revolving around the classical masculine organization, with a desperation to sustain a core of synchronic “truth”. It realizes much more directly what is with this diachronicity, as a result of the problems in the Korean society deriving from believing in that veneer. She does not have yet specific psychological tools to work with that, but it is a much better perspective. It is a start for much better things, I sense it as a much better angle. This is not something specifically valorized in the Korean culture, I am noticing its value as a result of my psychological quest around these issues.

One Hunderd Years of Solitude has too some insights around such issues, but I am not aware of Latino and Russian direct gazes into the raw diachronicity (while in the Korean context, it is not valorized what I notice). There is something in Dostoevsky’s path from Crime and Punishment, in which he still believes in the overall classical human sense of coherence, to the Brothers Karamazov, in which he has a much better understanding of the larger complexity (I see the concept of justice remaining valid, but it needs to be more relevant). Tolstoy started with the impression that the classical human thinking simply can work with the diachronicity, in War and Peace, then he discovered in Anna Karenina the Altaic concept of immersion in nature for a sense of psychological organization. Only that he interpreted that too linearly and then he was bombarded with all kinds of diachronic angles decimating his beliefs, while still clinging to the orientation of the mind around a supposed core in classical human thinking that can deal with the diachronicity. He ended up himself in something similar to that of the men from One Hundred Years of Solitude. He continued chasing the impression of a linear coherence, not sensing the gist like in Kusa of Guljigit Satıbekov.

Among the cultural environments I have some connection with or I am familiar with, there is also something valuable in some nuances of the Albanian femininity. There is some realization of the complexity opened when a woman faces the difficulties of real life. Listen for example this Tallava of Teuta Selimi. It is the kind of music of a woman who had a start in realizing how to relate the diachronicity with real life, but it does not slide so much into revolving around the masculine organization. After an initial part of getting into the mood by studying what is with this unexpected outlook when starting from the usual human expectations of a “normal” psychology, the instrumental part slides meaningfully and consequentially into a diachronic discombobulation, as a direct study of what is this state of mind about.

Notice in this interpretation of Tallava how Flora Gashi starts and sets the tone of some psychological resources in difficult circumstances that are rather unexpected for a man. The vibe of Qaz Rahoveci taking over and processing it is that “oh man, this is so overwhelming and difficult”, but he is really having a psychological opening about that and studies how it relates to real life. She intervenes from time to time and, by the middle of the video, when he got some idea and mood of how to work with this as diachronic unfoldment in time, she takes her purse and leaves the scene, letting the man to deal with that complexity and experience it himself. There is some processing and then the music rebounds.

This Tallava of Liridon Bajgora is that of a man who experienced that psychological abyss and found a coherent expression of it. However, if you deal with real life, it is likely from time to time to stumble upon new aspects and get back to a less triumphant and more introspective immersion around what is going on, like in the previous video. This Tallava of Vllaznim Prizreni is about a young man who is immersed in that inner space of fluidized accumulated cultural wisdom, in a way that has some start of a psychological passage for a masculine mind.

This Tallava of Remzie Strumcaku is one of those feminine musical interpretations in which, if you didn’t see how she looks like, you would be under impression she is a much older woman. The Albanians have too this mixture of an expressivity of an old fluid wisdom and of a child-like side. Some musicians use to include also a small child in the team when performing that kind of fluid accumulated old wisdom music, like in this Potpuri by the Mustafa Sisters or this Bektashi ritual.

Obviously, this is not the way to go on the long term. At least when I have this kind of understanding of the situation as it develops in these texts, it is obvious that a new sense of maturity is necessary. As for the fluid accumulated wisdom, it may not matter too much as a psychological value if it is just assumed as a practical immersion and that’s it. It needs further interest and study. Much of this opening of the mind can easily turn into a self-congratulatory good feeling and just stay like that, like in this Tallava of Aferdita Elshani and Erkan Kumanova. And the Albanians too have reactions to see the world like in Yuh Yuh of Koray Avcı when under pressure from the complexity of the world (for example, the weird ways the Communist period unfolded in Albania).

The Albanian expressivity mattered a lot for me as one of the angles to have some opening of the mind about such topics (I noticed also tangentially the presentation of small children as a symbol of freshness, the same as in some Asian cultures, but I didn’t have further ideas regarding what was that about at that time). The Altaic/Jewish/Romani complex in my mind can suppose too much of a steep learning curve, it can just be as a practical abyssal experience (but, still, as you can see, there is something understandable in it, when you have a start at sensing what is going on).

The Albanian femininity did not reach such a psychological abyss as in those Asian and Amerindian cultures, it did not end up seeking to save the belief in a core of the classical masculinity that can work with the diachronicity. They do not need to deal with the abyssal unfoldment of the hardcore diachronicity like, for example, that explored by the Russian singer Morgenshtern (with Jewish and Bashkir background) in Novyi Merin. This hardcore diachronicity was likely introduced by the women to the men as a result of experiencing excruciating difficulties in dealing with real life and then, in the Jewish and Altaic cases, the women also likely developed a new masculinity able to think from the diachronic perspective in order to have some sense of order that takes in consideration the diachronic gist.

Morgenshtern likely has in the back of the mind an observational abyssal masculinity like that mentioned earlier in Minem zakonlı hatınım, Opmay-opmay and Şudıñ boyında. However, this new masculinity has blank spaces that are left to the man to see what to do with them, in the idea that men have some mysterious capabilities to organize. As there are no already existing classical masculine resources for that, there follow as consequences the things I already wrote about previously.

In the Albanian case, there do not appear serious problems of a disconnection between the side of the woman immersed in the existing ecosystem of meaning and the side of the woman thinking for herself diachronically, like the solidarity between the two sides of Rita Ora in Only Want You. On the one hand, it is good that it is not such a steep learning curve, but, on the other hand, it is important to sense a psychological abyss as in some Asian and Amerindian cultures, this is what really opens the mind to the serious stuff (and, of course, this is not prescriptive, the Albanians can seek that too, the basics are there already).

In the Altaic context, the woman’s thinking about how to consider the experience of relating diachronicity to real life can develop in the man two such sides of himself, like the aforementioned Erkekpin men of Gazizkhan Şekerbekov, which can further open the mind of the man about the complexity, as in his Dostarga some years later. Initially, it is something like the craziness of the men from One Hundred Years of Solitude, but the woman has from the start some more awareness of the complexity unleashed by the diachronicity when trying to relate it as a sense of organization with real life.

There is some more realization about how complex it gets from an organizational perspectives in what is conveyed to the man. The woman does not have straightforward simple beliefs in a core of classical masculinity that can deal with the diachronicity, the goalposts of such belief are moved in a more relevant direction. The man realizes it too after a while. Further on, the men can see too the situation from the observational side, as in Sargardoringman of the Uzbek singer Umidaxon, and can be rather lucid about what is going on, as the previous Danir Sabirov in Minem zakonlı hatınım (his Şoket it shows much better his observational side, the video being about how to relate it to the classical masculine concept of organizing life while feeling like being in control of the situation).

In the Jewish and Romani contexts, the masculine interest in some processing of the diachronicity can make difficult for women to keep a working balance between these two sides (the Altaic masculinity usually does not get so much into wondering about the organizational implications for the overall meaning). Both the Jewish and Indian outlooks have a masculine amazement with this diachronicity, with different nuances. But there is so much psychological work to do around this and this likely tends to mess up the feminine balance between those sides (which is not the end of the situation, it spurs further quest around authenticity with accumulation of expertise along generations).

The Indian masculine approach with specific Punjabi/Romani nuances has an amazement with what can be achieved with occasional feminine diachronic intervention in real life, like in Golliyan of the Punjabi singer Jagdeep Grewal or like in Bandooka of the Punjabi singer Angrej Ali. This can even give the impression to some women that they have practical power in private, like in Jaani Tera Naa of the Punjabi singer Sunanda Sharma, only to see her few years later in Sandal with the relation between the two sides of her messed up.

She processed too much her occasional moments of diachronic psychological abilities through the cultural Indian amazement around that and entered in a linear plateau about that, which only made her side involved in the ecosystem of meaning much more like a satellite of the man (as she was not really assuming organizational responsibilities when she was under impression she had power). Through the Indian amazement, she entered too much into classical masculine linear thinking without assuming organizational responsibilities about that.

Something like in Mashooq Fatte Chakni of the Punjabi singer Guri shows a situation in which the woman does not enter too much with the mind in masculine amazements about diachronicity and the man has some better sense about the gist, feeling the woman like a tractor on the move with no one at the driving wheel (compare with how the masculine organization melts down in the feminine expertise with diachronicity until the man remains only with the driving wheel in Oşko of Totomidin and Surma and with the experience of that exceptional car that moves by itself in Novyi Merin of Morgenshtern).

Mashooq Fatte Chakni also shows how two sides in the Indian masculinity can develop, an inner side that is amazed with such feminine feats (the observational side) and an outer side that is disrupted and does not know how to relate to it (the side immersed in the existing ecosystem of meaning and organization). It was something like this that appeared as the most ready explanation about the overall situation after I debuted to write about such topics, with the initial 7 general parts of Perceiving complexity. Those initial parts were about long-term thought ideas, but, when writing them and seeing them published, further wonderment and questions about the overall situation appeared.

From there on it was free-style writing (still employing many things I thought about over a long period of time), starting with part 8 in which the Romani angle in me provided what I had available on the spot as the most clear-minded approach when facing the public gaze around such topics, with the Punjabi singer Ammy Virk being more open to acknowledge this amazement, as in Haan Kargi, and with the Punjabi singer Rajvir Jawanda being overly stressed by the male role and seeking a very submissive and airhead looking woman in Surname. But, from there on, I immersed in all kinds of collateral issues that move the situation further on, as practical situations beyond just amazement (this amazement can be too much of a mental blockage when the man has some sense of the diachronic gist, without knowing how to relate to it from an organizational perspective).

In these cultures, some men can have more awareness and openness about what is going on, like in Haan Kargi, others can be reactive like in Surname. Some can have both these angles and they need to see what to do with them. To bring also some Tatar relevant musical examples around these issues, in Sin minem yanımda, Ranil Nuriev is under impression that he can avoid all those issues opened by such a femininity by seeking a woman with more classical feminine nuances. However, the reality of what is the singer imagining probably is more like in Minem zakonlı hatınım of Danir Sabirov. There is an intelligent woman behind that good vibe and, in the end, the man still ends up needing to deal with expectations of providing organization for the full-course diachronicity, the same as in the initial premise of the video that he was disliking.

On the other hand, that whip by the end of Jaani Tera Naa is the simplistic masculine sense of organization, the woman is under impression she does that too, but she does not really assume organizational responsibilities and this only turns her even more into a psychological satellite of the man. Much of the more strident side of the contemporary feminism has similar premises, but without the nuances determined by the context of the Indian cultural amazement with diachronicity, turning into “strong” women revolving around men, blaming them for all the organizational problems and pestering them to acknowledge their “strength”. Those who image they are in a situation like in Jaani Tera Naa without paying attention to all the responsibilities incumbent in assuming such an authority tend to slide in a situation like in Sandal, revolving around someone who assumes such responsibilities.

Not that a woman cannot assume organizational responsibilities, but probably she needs to be more aware that she really has to assume them, not just revolve around the man with “I am better than you” angles noticing issues in the existing male organization. Such angles keep the respective person as a satellite of the one who assumes the overall organizational responsibilities. It may give the impression of being way smarter, but it is just about revolving around other’s organizational responsibilities. Such a person can be so clueless about what a complexity is opened by really assuming such responsibilities.

And, if assumed, she has to face the same issues the men who are aware of the full-course diachronicity need to deal with. It is necessary some clarification around this classical masculine impression that you have the control of the situation and you can expand in any direction (if you just go along with this classical approach utterly clueless of the diachronic complexity, you get into a quick burn-out like in One Hundred Years of Solitude or a longer-term decrepitude like in Islam when sticking to palliative “solutions”).

Çıtır Çıtır of the Turkish singer Neslihan Demirtaş shows a situation in which the woman continues focused on the gist of the diachronicity in such context of relating to the man and this does not determine so much messing up of the two sides of her. These sides can work well to get to the bottom of a situation when necessary, as in her Uyansın (the move back and forth between the observational side that sees the situation as a “film” and the side immersed in the situation).

On the one hand, she does not need to deal with significant masculine interest in diachronicity as in the Indian and Jewish outlooks (which could derail her inner balance if she takes too much for granted the initial superficial impressions of the masculine amazement). On the other hand, it is necessary such masculine interest in diachronicity.

In the Indian case, there is much more masculine propensity to go even further than in Dostarga of Gazizkhan Şekerbekov and Meyrambek Besbaev, to realize that your own face is painted and to wonder about the overall situation, as in Compete of the Punjabi singer Singga. Also a gem of observation in the lyrics, “those who have hands don’t know how to do the hard work, those without hands win every race with their fortune and good-luck” (as a result of noticing the larger unfoldment of life beyond the self-centered classical masculine sense of organization; obviously it is not necessary for the situation to stay stuck like this when having more realization about such topics from a variety of angles).

The Altaic masculine realizations tend to be more practical, directly immersed in the psychology at hand. They are much more in the flow. The Indian masculine realizations tend to be more philosophical, about the overall meaning. Not that the situation should be stuck like this, both have valuable things to learn from each other.

The involuntarily ridiculous nuances from the previous Surname of Rajvir Jawanda stem too from this deep Indian awareness. There is an angle of realism inside him the same as in Compete or in the previous Sandal of Sunanda Sharma. Even though he is under impression he can unfold the classical masculinity as usually, the observational side inside him sees him realistically from the long-term accumulated feminine experience around self-centered masculinity. He does not really escapes that with his pursuit of classical masculinity.

This observational side is a much more profound and much wiser perspective, only that it needs lots of psychological work to be really applied in real life from an organizational angle. Thus it just stays observational in his case if he is not interested in that work. Another musical example of such a man seeking classical masculine expressivity when he has such a realistic angle inside him, in Trend of the Punjabi singer Ramji Gulati, with that ridiculous introduction.

This angle of involuntary realism turns also valid for women who are too much under impression that such abyssal diachronic psychology can make the men strong and infallible in a direct, straightforward manner, when the woman is under impression she sees or she is able to develop directly a core in classical masculinity that can simply work with the diachronicity. Something like Bell Bottom of the Punjabi singer Baani Sandhu has the same involuntary realism that creates some underlying ridiculousness like in the previous masculine music videos.

Not that a masculine work with diachronicity is impossible, but it requires some major reorganizations and utterly unexpected insights on a long ongoing basis, which would also feel much more realistic than the involuntary, innocent ridiculousness of such videos. I should add that I do not mention such examples exclusively as something bad. A bit of such ridiculousness may not be so bad, it can be a gateway to really sense that angle of abyssal realism that creates it.

Maybe you kind of need to experience such ridiculousness for a while to sense what is behind, but it should be for a while. It feels when you get the idea and then it feels that it turns you from an innocent person into a fake one if you continue like this. The sense of orientation regarding such ridiculousness probably should be around whether it feels that the person has some involuntary solidarity with that inescapable deep realism or not (in the latter case simply continuing indefinitely with that ridiculousness).

Something like Athra Swag of the Punjabi singer Anjusha Sharma has some more realism about the mental abyss of the diachronicity and it is less prone to that involuntary ridiculousness. The disruptions in the flow of the video are of the same nature as those from Opmay-opmay of the Kazakh band Aziya with Baqay. You are much more aware about what a mental abyss is there.

There are Punjabi/Romani men who really take seriously all that expertise revealed in moments like those from the previous Bandooka of Angrej Ali and they can apply it themselves, like for example in Bai Shadd De of the Punjabi singer Jaggi Amargarh, able to sustain a fluid diachronic abyssal psychology and break apart whatever classical masculine impression of being in control of the situation. But the same question remains, how do you organize social life beyond the self-centered classical manner?

In this particular case, it appears that Jaggi Amargarh senses that he should not step into static organization, to not end up believing that the “whip” is power like in Jaani Tera Naa (which would lead to something like in Sandal) and pay attention to the diachronic gist like in Mashooq Fatte Chakni of Guri or Çıtır Çıtır of Neslihan Demirtaş. Vladimir Putin is a good example of a man who uses such psychological tactics, but who also likes to keep the simplistic classical masculine “whip”, which turns him into a powerless Sandal psychological satellite of the Western world that he seeks to manipulate (more about this in Part 15 of The mindset of the populations of Siberian origin).

He is like a strident feminist, but with a nuclear arsenal and an endless array of poison. He identified the Western world as assuming organizational responsibilities and he ended up as its psychological satellite. He notices issues in these responsibilities and thinks he is smarter and stronger, but in this process he does not realize the extent he is turning into a psychological satellite with this kind of approach. Since he does not realize, he keeps pestering the West to acknowledge his “strength”. He does not have a life of his own, an organization of his own, he is like a moth that can’t get away from a source of light in the dark. He just exploits issues in the Western organization.

The most he can do is to test the resolve of those who assume organizational responsibilities, in order to see how much he can get away with. He is not the one who strikes into the unknown of real life, he is revolving like a psychological satellite around others’ organization. If you pay attention to the fact that the “whip” side of human classical sense of organization does not work properly when you use this fluid diachronic psychology, you can prevent turning yourself into a joke of leadership like Putin and see what to do while facing the utter diachronic unknown. Thus you can stay relevant for providing organization with a gaze into the unknown.

To meet possible horripilated Romani comments about symbols of death from Compete, as this topic can be very sensible for some of them and they seek to avoid it, I see it in the Romani cultural context as rather a fascination with death as a major, yet abyssaly scary refreshment (the issue that makes Melquíades from One Hundred Years of Solitude interested in the consanguineous island of simple clarity of the Buendías, as a possible chance to live forever as a more relaxing/simplistic static sense of self, only to realize that the profound gist of the full-course diachronicity will sweep it away after some time).

In each of these cultures that I write about there is some official line around what is the mindset about, but there are major topics that are not well addressed, not knowing what to do with them, while they have such an important role in the practical unfoldment of the culture. See for example Romanis who don’t care about the official line of proper psychological cleanliness, they go hardcore and create an ad-hoc ritual by entering in a coffin and seeking some major refreshment around other issues of psychological cleanliness and uncertainty in social relations.

Interesting how they convince Christian priests to perform this in churches, which is way out of what is accepted in Orthodox Christianity (this piece of news in Romanian presents the position of higher religious ranks around such rituals, stating a firm rejection). In such cases, they tell the priest what to do and what they expect of him and he conforms.

In that video, he was just interested in money, initially keeping repeating “give me the money and then I’ll start”. But there is also the fact that such Romanis are not absorbed in the manipulative psychological clout of Christianity, they don’t enter in its worldview. People tend to fall for that manipulation and they enter in the narrow-minded self-eulogizing psychological structure of Christianity. There is something that makes people feel good about themselves in lazy way when the Christian psychological package is presented to them and many do not sense how manipulative, inhumane, stale and self-deceiving it is. Usually, the Romanis do not enter in that Christian kind of grandeur of the ego. Recently there are some neo-Protestant inroads, but they tend to be along caste/jati lines, their sectarianism is used to enforce these identity lines.

The Romani culture is much more profound, the same as that observational angle within themselves that makes them ridiculous at times, and it is rather them who assimilate other psychological structures to their own. But the fact that this is an observational angle they don’t know very well what to do with also means that they can’t do much (for the moment) with this profoundness in organizational terms.

Around the issue of the relation between the observational side and the side involved in the existing organization, as a result of the masculine interest in this psychology in the Indian context, the relation between these two sides can be too disturbed to permit a naturally flowing masculine observation point as in Erkekpin men of Gazizkhan Şekerbekov or in Sargardoringman of the Uzbek singer Umidaxon. This relates too to the Indian fascination with death as a major refreshment capable to restore a better flow of the observational side. Some Altaic streaks have too such issues as a result of similar male interest in the diachronicity that can be too clueless and superficial (at first, at least) and it is done in a way that keeps too much static psychological structures, thus disrupting the diachronic gist too much.

This can make the psychological refreshment more difficult. Compare something like in Chehre of the Punjabi singer Harish Verma to something like in Taatta of Künney. The issues around the psychological concept of death (which is not necessarily about physical death) are like the singer opening the umbrella to defend himself from the refreshing fluidity (because he pays more conscious attention to it and he does not know what to make of it from an organizational angle, as about an overall “theory of life”). He protests against it, but then, a few steps further on, when he is back by himself, not interacting directly with the woman and able to unfold that inner side of himself, he in fact likes it (the two sides in the man I mentioned previously). This determines thoughts about death as capable of a major refreshment, with all the abyssaly scary and wary nuances like defending with the umbrella in the video. In the first place, this should not be about death, but the psychological context turns it in this direction.

On the other hand, in this Indian context, the women’s realization about how blind the men are when suddenly exposed to the diachronic psychology reduces the impression of a core in classical masculinity that can deal with that, with more female attention to the fact that it is necessary to express what is that about. This creates some more awareness in the observational angle and this is what wins the day in the overall cultural mindset, since it is much more profound (which turns much more ridiculous the men and women who do not pay attention to it in this cultural context).

It also turns into a Krishna-like new masculinity, with the same structure as in the previous cases of new masculinity (parts that are relevant for the diachronicity to the extent the woman can provide them mixed with blank parts left to the man to figure out what to do with them), but with less impression of a core in classical masculinity that can deal with the full-course diachronicity.

See for example an interpretation like that of the Punjabi singer Hadiqa Kiani in Kamli, as a development of a Krishna-like masculinity, with a fluid diachronic perspective from a variety of angles, with some more awareness that the gist has to be taken in consideration and see what to do with its expressivity and some more openness around a lack of a core in classical masculinity that can simply deal with that directly.

See her also in Boohey Barian (also in a more elaborate live version), in which she has to make sure she does not end up in superficial masculine amazement about diachronicity (the man seeking to take suffocating and limiting bi-dimensional static “photos”) and that the gist of the diachronicity is not lost. She has to make sure the man really senses it. The man first reacts with his external side that has to provide organization in classical human terms as control of the situation. He sensed something in the woman’s expressivity, but it does not unfold. He may even be disrupted and confused. Later, when he is by himself and the organizational pressure is diminished, he can let the gist unfold and experience it.

This Krishna-like experience is in fact the start of the Tallava genre that I gave some examples of when I wrote previously about the Albanians. Originally, that is a Romani musical genre from Kosovo, the local Albanians found it valuable as a way to explore the diachronic psychology and it took an Albanian expressivity in their own interpretations. An initial study of the coherence of the Krishna-like experience like in this Tallava of Muharrem Ahmeti can turn into a study of the diachronicity like in that Tallava of Teuta Selimi that is not so aware of the hardcore level of diachronicity and it does not have so many abyssal blank spaces left for the man to figure out what to do with. Or an immersion in the fluid accumulated culture like in this Tallava of Mandi can turn into one like that Tallava of Vllaznim Prizreni that also does not have so many abyssal blank spaces. (I should add that it is not that something is “lost” or “avoided” in the Albanian case, all the valuable diachronic gist and its potential is there and it is fulfilling, but there is no awareness of further hardcore levels about what it can mean.)

On the one hand, it is good that it is not such a steep learning curve, on the other hand that hardcore psychological diachronicity is necessary too, it is profound and serious. It is like in that initial motto from Anna Karenina, “happy families are all alike; every unhappy family is unhappy in its own way.” I am not aware of a happy cultural area, but, by noticing different angles of what is valuable and what does not work in a plurality of cultural areas, a better understanding of the situation can emerge. This is also in the context of the fact that these cultural areas with significant feminine psychological immersion tend to have troubled histories.

Now that I am in an Albanian mood after presenting it earlier as a good introduction to these issues in a way that is not so abyssal, it comes to my mind this interpretation of Jalla moj mihane (from the same Tallava genre) of Shqipe Abazi, as an expressivity of the basic issues around those troubled histories, as a starting point to sense what is about. This feminine experience of mind-boggling suffering, which accumulated along many generations of women beyond the self-centered classical masculine organization, opened the mind to a more profound psychology and it is necessary to stand by it because it is so profound, while there is not yet relevant experience about how to organize social life with it.

And, if I opened this Albanian angle, let me also give some musical examples like Me Tupan Histori Lud Tetoves of Aferdita Elshani (with northern Albanian nuances) or Qaj Maro of Aurela Gaçe (with southern Albanian nuances) that can be much more direct in giving some idea about these nuances of abyssal power seeping from the feminine perspective. Something like the Tallava of Teuta Selimi or the Tallava of Flora Gashi and Qaz Rahoveci were like a study of this state of mind, about how does its gist relates to the organizational necessities of life when this abyssal power opens a huge diachronically fluid complexity (continuing the initial Romani Tallava structure of a musical psychological study, in these cases assumed from an Albanian direction). The previous ones at the beginning of this paragraph are about being immersed in this power and living it, without facing so frontally the notion of a psychological fluidity and abyss in a Punjabi/Romani Indian manner present in the Tallava structure. These nuances of simply living this power probably can give some better idea to a Western worldview about the starting point and how this can go beyond its concept of femininity that it is used to. Let me also give a musical example with a more “conventional” femininity, like this Tallava of Fatlume Popovci, in order to give some idea that it is about a range of nuances.

I don’t see as something unwarranted what comes with the awareness of the diachronic psychology, it is obviously much more profound than the classical human sense of organization and there is no way back, you can’t really un-know it. But, further on, lots of psychological work is necessary in order to do something about this propensity to end up in troubled histories. And it is not only around doing something about it, but also around obvious prospects of great psychological breakthroughs and improvements. It is a make it or break it relation between troubled histories and great improvements in social organization (this also relating to the main problem from One Hundred Years of Solitude).

Around this issue of unhappiness, I should add that I found inspirational Punjabi musical expressivity like, for example, in Ik Mera Pind Te Duji Meri Maa of the Shah Sisters. It opened my mind about possibilities of a relaxed meaningful immersion in this Krishna-like experience that is nevertheless profound and relevant. The Romani expressivity tends to have a weary, sad tinge as a result of a life as a minority among people with other cultures that debuted in the Medieval times, when the concept of human rights was minimal.

The sense of diachronic abyss is exacerbated by this situation and a Romani counterpart of the previous interpretation is more like in Să mă iubești! (translation) of the Romanian Romani singer Dida Drăgan. In practical Romani social life, this is also mixed with an intra-group pressure to stay positive and not give up, to show that you are happy when further wonderment appears about the overall situation. Thus these issues are not properly explored and studied and then you see people fascinated, yet utterly disrupted by the concept of death as a major refreshment, as I mentioned previously.

The discovery of that Punjabi expressivity did not change anything immediately for me since the Romani historical experience and the further sense of abyss it created is relevant. But this other relaxed expressivity was relevant too, as it really takes in consideration the gist, and it opens my mind to further process the Romani context. The people have the right to be happy. That relaxed expressivity became more relevant when I was myself more relaxed about it, as a result of this psychological quest that also takes in consideration the Romani accumulated historical perspective. No part that you can’t really un-know is cast aside. And I am aware that such Punjabi expressivity is more like a start, it is not about finding a plateau of happiness and presenting it as a solution.

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