Old Abrahamic religious mindsets in new IT companies (part 3)

⟵ Old Abrahamic religious mindsets in new IT companies (part 2)

This series is supposed to be about Abrahamic mindsets in some IT companies, but, as I was seeking in the previous part to put in writing something about the Islamic psychological walled garden, I ended up noticing more in depth a trend among some Asian cultures that celebrates children as a source of mental fluidity. I had to take a break for some time and think again about the overall situation. I will get back to the main topic, but first I’d want to see more what is this issue about.

At the end of the previous part I reached some sort of a psychological plateau with a view of the situation as some people who want to have that fluidity and those who have too much of it. Previously, I was in a situation of dealing myself with aspects like those from Apa and Apa 2 of the Kazakh singer Ruslan Satenov or from Ayrilamiz of the Uzbek singer Shahzoda. I was not so aware of it in the terms from the previous part, it was more of a vague situation, like the man from O’yna-o’yna of the Uzbek singer Ziyoda. The unfoldment of the text from the previous part appears to show a kind of an other side of the story, with people who want that mental fluidity and they don’t know how to get it or they don’t want to lose the perks of the simplistic classical sense of adulthood. In the past, I had noticed for some time the use of childhood like in O’zbegim of the Uzbek singer Kaniza, but I did not have a more in-depth perception of the situation in the way the text from the previous part turned out.

My impression about this mental plateau is that there is more to it. In such cases, I let the situation unfold afresh in my mind, again and again, until I sense a more authentic understanding, in the way I comment about the video Uyansın of the Turkish singer Neslihan Demirtaş in Part 11 of Perceiving complexity. When I was thinking what is going on and what can be done about the situation from the previous part of this series, I remembered this Mehebbet — zur soyu of the Tatar singer Liliya Mullagalieva. This is a woman who is a producer of mental fluidity and she feels good the way she is at her age, no interest in understanding this situation as an adult celebration of childhood. The vibe from the video feels like that exploration of the world beyond the classical human bubble of knowledge, she is bathing herself mentally in that fluidity beyond. This seems to give me a better idea about the situation.

Someone like the Tatar singer Yasmin in Tuganlık jılısı is also herself a producer of mental fluidity beyond the bubble of knowledge, but she has an official thinking framework in terms of classical human adulthood. She notices that something good happens in her mind, but she does not conceptualize or she avoids conceptualizing that this mental fluidity supposes really thinking beyond the bubble of knowledge of the classical adulthood. She is not about exploring directly the fluid complexity of the world like Liliya Mullagalieva. She is adult in classical terms, she does not really immerse her organizational adulthood in that abyssal complexity beyond the bubble of knowledge. This while she still experiences such a valuable state of mind with this mental fluidity. She can’t see a fulfillment by herself with this, the children appear as the fulfillment.

In her particular case it looks like she does not put much pressure on the children to be “children according to classical adult needs for a controlled mental fluidity”, as she is producing herself such fluidity. In such cases it depends on how much these adults cast upon the children the classical adult limited worldview, as it can end up in using them as some celebrated accessories, as some psychological sandboxes of controlled fluidity, in which you can keep an easy idealistic worldview for that mental fluidity while avoiding the larger complexity of life.

Ya Hayati Ana Jambak of the Tunisian singer Latifa is a situation in which she registers the mental fluidity as out of the bubble of classical knowledge, as an exploration of the fluidity of the world beyond (as she comes out of her house to explore the world). This is what she is doing here, but she still thinks in classical adult terms. Thus she does not know how to conceptualize the experience and she notices the girl as a fulfillment of this state of mind.

In Sevda Yanığı (translation), the Turkish singer Funda Arar is out of the bubble of knowledge into the larger complexity, but she is not like Latifa bathing in an idealistic worldview, she registers it as a loss of innocence, “I have seen so many, […] if only I could still be a child”. Yasmin and Latifa were keeping their mental organization within the bubble of knowledge while they were bathing in the huge fluid complexity beyond it and they were casting easily their idealistic innocence on the girls. Funda Arara is out psychologically, but she sees it as a loss of innocence.

However, my perception of the situation from a variety of Asian backgrounds around this issue is like in Hayat Şaşırtır! of the Turkish singer Aydilge, namely that the child-like view is not about the innocence imagined by the classical adulthood within some confines of the bubble of knowledge. Aydilge really faces what is such a situation about. In the exchange of gazes with the child, her sense of adulthood crumbles down, but in the same time she realizes that she is not a child and she really assumes herself this state of mind. Then she really immerses her own reorganized adulthood in that abyssal complexity beyond the bubble of knowledge.

My current impression is that some time in the distant past, many thousands of years ago (if considering these psychological nuances spread in a variety of Asian cultures), one or more women managed to make one or more men understand their perspective, like in Yuh Yuh (translation) of the Turkish band Cemali. It was a woman who had a child-like side of herself that could not find a way to adulthood, this is what the adult woman and the small girl with torches are about. With that child-like side, she was able to think beyond the classical adult bubble of knowledge. As she really takes in consideration much more consciously the complexity of the world beyond the simplistic classical human thinking, she could not find some new sense of adulthood for this.

An important aspect is that in this opening of the mind there is something new in psychological terms that allows having some synapses in the mind to take it in consideration. From what I see, usually women quite often immerse in an expressivity about what is beyond, but they can be themselves invested the same as the men in that classical human bubble of knowledge. The problem is that they tend to be under impression that the classical human type of thinking can work with a larger diachronic psychology beyond such bubbles (it can’t, there are necessary some serious readjustments). They may fall under the impression that the men have some mysterious ways of providing psychological organization and they would surely work with that larger diachronic complexity if they notice it and if they want to.

Such women can have an initial period in which they expect the men to organize things by taking in consideration what is beyond, they send nudges, the men are clueless, the women are disappointed. Then they can end up annoyed that the men do not notice, but this is in terms of expecting things to be solved and organized in the simplified organizational terms of the bubble of knowledge. They are not themselves organizing things to notice that such simplified classical masculine organizational approaches do not work with the larger fluid diachronic psychology. These simplified approaches are mostly about (ab)using a lot of fast-track patternizing build-ups of “knowledge” structures (I wrote more about this in the general part of Perceiving complexity series). It is amazing how two points of view can live side by side for so many thousands of years without getting a clue of each other.

If such women think too intently about what is beyond, it appears as such a scary abyss of non-psychology. It is not such a direct view like in the previous Yuh Yuh, which may require some new synapses in the brain (synapses that take you out of the classical human concept of adulthood and some new concept of adulthood is necessary). Much of the more strident side of the contemporary feminism is in these complaining terms, annoyed that there is no perfect unfoldment in those simplified terms. If you really take in consideration what is beyond, you realize so obviously that it is a matter of hard psychological work to find out utterly new perspectives to solve all kind of issues related to the human social life. There are also women who are more responsible for themselves and do not see what is beyond in terms of non-psychology, but they really have to deal with that complexity and they may be less visible in public because they don’t know what to do.

Given the awareness of what is beyond, sometimes some women end up believing more than the men in that simplified bubble of knowledge, with a kind of an impression that men have some sort of magic to make sense of things, but for some reason they do not want to unfold that magic in the right way. The classical feminine adulthood is about relying psychologically on that bubble of knowledge.

It appears that, for those women from the past that opened up the minds of the men like in Yuh Yuh of Cemali, the assumption of what is beyond turned into a loss of the relevance of the classical adulthood, without further ideas about a new one. Thus it was some sort of a child-like side, but one showing very unexpected things beyond one’s bubble of knowledge. The woman herself ended up in some ways to not believe so much in the bubble of knowledge. The important aspect there was a way to be immersed in the abyss beyond and take it in consideration, maybe as a result of some dreadful circumstances.

This is something that a man can understand. And, from a male perspective, once you realize what is beyond the bubble of knowledge, you can’t un-know it, it seeps into the broad culture. However, further on, not all the people from these cultures seem to get the idea. They sense that it is about some mental fluidity with some sort of child-like unfoldment, but they do not get the gist about how it goes beyond the bubble of knowledge. Hence they see it in terms of a kawaii idealized infantile mental fluidity, with the propensity to keep it within the bubble.

Now that I have rewound all kinds of perceptions around people from these cultures (after the opening of the mind from the previous part of this series), I notice how this can be inconsistent across generations, probably depending on the circumstances each person in the generational line grows up in. There can be parents who sense the gist, while their children don’t. Vice-versa, there can be parents who don’t sense it, while their children do.

Something specific to say about women is that there are also some masculine nuances in the shape that this understanding of what is beyond the bubble took in the local culture. Probably it was as a result of the likely path, from those initial women to the men who further seeped it into the broad culture. It is not something bad in itself, there are some good things in masculinity as there are some good things in femininity. I don’t see the existing psychological framework as a given either, it obviously needs to evolve into some new adulthood, the previous sentence is not in the idea that the current framework is to be taken for granted. For men, this framework looks already as something they need to pay attention to, as something they need to wrap their head around. For women it may look feminine and this may cause some misunderstanding of what it is about, as there are nuances not present in classical femininity.

I mentioned before Jean qui rit, Jean qui pleure (translation) of the Jewish singer Riff Cohen as an example of a woman who immerses in the mind of a Jewish man and realizes how he sees the situation and what is going on with him, how he is out of the bubble and then the mental abyss in his mind. It starts with “an eye that cries, an eye that is in wonderment [at what is notices]”. This is a woman’s realization about how the men processed the probable opening of the mind from that child-like side of the woman from the past.

Some Alevi Turkish examples of this kind, Kirvem of Arzu and Niye Böyle Dargın Bakarsın of Musa Eroğlu and Güler Duman. The man is out of the classical bubble of knowledge (the wall of men with their backs at him), he does not have adequate mental tools to process what is that about. There is a variety of cultural nuances around feeling out of the bubble, the previous example was with Jewish nuances, these two are with Alevi Turkish nuances. This is how this situation further took shape in the respective cultures (they also have in common the Middle Eastern pressure to look like a man in control of the situation, which brings much more directly to light the complexity beyond the bubble). As I said previously, this is not necessarily in the idea of taking these specific nuances as a given, but first you need to realize what is going on.

Probably something to wake up those (both genders) who don’t get the idea in general is that this child-like side is not at all about showing an ideal cute mental fluidity. It also shows very terrible things about what is going on beyond the classical human bubble of knowledge, like in the previous Yuh Yuh of Cemali or like in Jean qui rit, Jean qui pleure of Riff Cohen with “an eye that cries, an eye that is in wonderment” or like the child-like side of the woman in Apa 2 of Ruslan Satenov (Sacha Baron Cohen is a good example of a man who appears to have very active this character inside him bringing to light less ideal, unexpected realistic things beyond the people’s bubbles of knowledge).

If you sense what this is about, your classical human idealism about that bubble of knowledge crumbles down and you notice the huge psychology beyond it. And you really realize the inescapably relevant internal coherence of this kind of worldview with all the problematic issues it is revealing, you don’t see it from a clueless angle of the classical human sense of adulthood (this also mean that you have to “carry the cross” of all the complexity this worldview is showing).

The limited self-centered classical human sense of adulthood is simply not equipped adequately to take those problematic issues in consideration. But this child-like worldview, in spite of looking deceptively immature at a first glance, has in fact a strong underlying organizational structure that can sustain a psychological depth in presenting those issues in a meaningful manner.

It is not so much something related to real-life children, it is more about an adult mind that cannot find relevant adult organization for this worldview. The problem is that this is not yet a psychological structure capable to project social organization, hence it does not provide some new adulthood relevant for that larger-scale psychology. It is more about an underlying psychological organization that can show those issues in an authentic and pertinent way. But it does not have much of further relevant social organization for what it shows so pertinently.

If those who did not understand what was this child-like thing about manage to get the idea, maybe they would not be interested anymore in seeing a fulfillment in children. You are yourself like that, it is your own plenary experience and endeavor beyond the classical human adulthood, you don’t need to seek children specifically for this purpose. On the contrary, you may have too much of this psychological fluidity and freshness and a need to do something about this becomes increasingly obvious.

It is not necessary to show all the time the terrible aspects, it depends on how clueless is the person about what is beyond their bubble. If they are clueless, the propensity of the child-like side can be to show the terrible aspects. Depending on the context, the perception can very naturally be also like in Hayat Şaşırtır! of Aydilge, with just unfolding the gist of how to see things beyond the bubble in contexts that are not so terrible. That small girl appears initially in the video, but further on the woman is processing herself as an adult what she sees. It is not in the idea that this is some sort of child-time moment (likely to turn into a caricatural adult impression of childhood). It is about an adult who assumes this perspective with an adulthood in transformation.

Some aspects in this video are different from those who do not get the idea, namely that she got the gist of seeing beyond the bubble of knowledge and thus it is her own plenary experience and fulfillment. In that exchange of gazes between her and the child, she is facing the dissipation of her sense of adulthood. She still continues to be practically an adult and, when she sees the child, she realizes that she is not a child and she has to grow her own view while immersing in this fluid abyss of such an unexpected worldview. It is not a classical adult worldview, clueless about what is beyond in such moments when they sense this mental fluidity (and thus not being able to reach a fulfillment by themselves and seeking a fulfillment in children).

She has the basic feeling from Tuganlık jılısı of Yasmin, but she senses how to further process it as an adult. And my impression is that, in order to sense it, you need first to go through the likely path from those initial women with a child-like side and then to the masculine processing of the situation that brought it in the broad culture. In Aydilge’s amazement, it appears to me to be something of a man’s amazement to what is beyond his bubble of knowledge. Women may take for granted the basic experience of what is beyond the bubble and this experience may not appear so explosively fresh and fluid like when you have organizational responsibilities in classical masculine style. And thus they may also not get the idea of what that child-like aspect of the culture is about.

This is important not only for the women themselves, but also because the women who do not get the idea and sense it as some caricatural ideal child-like innocence further on have effect on the men from these cultures, increasing their likelihood to sense the situation in caricatural terms. Imagine what is like to grow up with such women and further on date such women (probably the same as it is for women to grow up with and date men who do not get what are these cultural aspects about, see my impression about Najwa Karam in Some Lebanese female singers facing static mental plateaus).

From the way I see this experience, if you sense what this is about, further on you need to deal with really living in real life as an adult with such a huge amount of perceptions, while there are not yet human mental tools to process them adequately. This can be too much to maintain on long term and it can turn rather into a matter of moments of such mental fluidity, as they are necessary, while the rest of the time you stay within the classical human thinking process aware of the huge complexity beyond.

It can be an awareness of an ecosystem of some consistency of meaning beyond which there is the complexity, like in Yuh Yuh of Cemali and Yuh Yuh of Koray Avcı. It can be in terms of feeling like living in the present tense of the past tense, like the previous Aydilge feeling like living a century ago, as the present tense is so hugely complex. The Japanese natsukashii nuance is something in this sense, but it feels too much like settling on this perception as some peace of mind, as though you can entertain in your mind only one point of view. I see this approach valuable in the way Ziyoda is not really just taking this natsukashii situation as a given, she is exploring it to sense better what it is about, like in Sevadi yorim mani or in Jononim mani, while she can unfold the mental fluidity like in Sevaman or in Sevib qol when she feels like.

Another aspect is that, if you have such a huge flurry of perceptions, it is not like they just unfold in a flow of inspiration, they may need hard work and processing. In my case, initially I was something like the man from O’yna-o’yna of Ziyoda. I was seeking myself some sense of order and organization while involuntarily provoking so much psychological fluidity among people with this fluid psychological side of me.

As I realized how to be more open and take this mental fluidity in consideration, I was processing as an adult such perceptions, but they can get so complex and my mind becomes like an operating system full of bloatware functioning slower and slower and slower. It is something like the man from Kusa of the Kyrgyz singer Guljigit Satıbekov, increasingly absent-minded, lost in loops of thoughts about the existing experiences. The first refrain of the song with seni tappai (“to find you”) is with him entering alone in the kitchen and thinking about the present tense in the past of the good moments that already happened. It is not anymore that the present tense is too huge in its unfoldment, but that I lose contact with it, it is losing its materiality from the way I process that huge amount of perceptions.

I need some sort of refreshment beyond the usual human thinking to find again the fluidity, many times the same as this man in nature. I thought for about 20 years around the issues I started publishing in May, things gathered pace and I was able to start writing when I found a place in the countryside, in nature. This refreshment in nature appears to be something specific of populations of Siberian origin among these Asian cultures, something like for example the vibe from Umırzaya of the Tatar singer Albina Hakimova or Taatta of the Sakha/Yakut singer Künney.

I do not feel the latter video with the old man turned into a baby as being exploitative of childhood, it feels like becoming yourself like that, specifically by sensing how to take in consideration what is beyond the bubble of knowledge, no classical adult freezing gaze. In a later video, in Çeeke, you see Künney with a man who looks like an alternative history green-mustachioed Kim Jong-un who has undergone that psychological reorganization and knows how to explore the fluidity of the world beyond the bubble of knowledge.

And, even further on, in Toñnuñ daa, you can see how he becomes fragile when another man disrupts him, exactly because he experienced that mental fluidity. In Sakha, “çeeke” and “kaaka” are baby-talk words used by adults when talking to small children, “çeeke” means good, “kaaka” means bad, garbage. The emerging conflict between the two men is very representative of the way men can become very fragile and can look so immature when experiencing this mental fluidity while they still continue thinking in terms of knowledge as control of the situation.

A man who is clueless of the huge psychological possibilities beyond his bubble simply takes for granted his “knowledge” and that’s it. A man who realizes what is beyond his bubble (while still continuing to think in terms of knowledge as control of the situation) has some awareness of the larger complexity, of the fluidity in perceptions and of how things can evolve in all kind of directions. He has the reaction to defend the tiniest concepts from diverging versions. Accepting other versions would mean that his edifice of knowledge as control of the situation is a joke.

At the beginning of Toñnuñ daa, Künney is like “oh no, I need to look good again” when she realizes the likely direction of the situation. This time, it is more of a vamp beauty to make the men notice not only that fluidity, but also more complex thinking processes to work with it. In the “introductory course” from Taatta it was more of a conventional beauty, to not strain the mind of the man too much. In Çeeke, it was about exploring self-expression.

Compare this to real life Kim Jong-un’s interest in children that have to perform in a way showing how they keep their mental fluidity in the non-threatening limits of the classical adulthood. This gives me also another perspective. So, it is not only about people who do not know how to get that mental fluidity, but it is also about those who have it, including the awareness that this mental fluidity is not some idealistic fulfillment, but they want to keep the easy classical human thinking as control of the situation and thus they want to see the children within some non-threatening limits (while in fact it is not about those real-life children, but about a child-like side in their minds, they confuse the source of problems).

This resonates also with Turkey’s Erdoğan’s interest in a “pious generation”, as he appears himself to have a side of him that is expressing a mental fluidity beyond his bubble of knowledge. He is something like the guy from O’yna-o’yna of Ziyoda, only that he is not so introspective, he does not pay this kind of attention to what is going on with him, he is lashing out at the others and he did not reach some understanding and acceptance of what is going on with him. Instead, he ended up as the boss of Turkey and he can impose on the entire country a sense of psychological self-restrain in order to keep that side of him in check. Some sense of order is necessary, in the way the man from the video takes charge of the driving wheel to make sure the course of the car is safe. But ultimately it has to take in consideration that larger complexity.

The issue of the sense of order appears also in Mini-mini of the Uzbek singer Farruh Komilov. An aspect of the woman’s own old-wisdom side (an inner character similar to that of the old woman from Apa 2) is nudging them to realize they are childish. When they realize, their sense of adulthood crumbles down. Then the classically adult side of the woman kicks in to keep some order, like the man in the previous O’yna-o’yna grabbing the driving wheel. But this is in the terms of the classical adulthood, as they have no other ideas.

This is a classical adulthood that is now free to unfold its usual approach to life without so much disturbance from a child-like side that previously thought it was adult. If you saw this couple in real life, initially you would notice how they suddenly stop much of the child-like behavior, but they are also awkward when child-like nuances bubble to surface in their behavior and they are without further ideas in such a situation. At least it does not turn into controlled caricatural kawaii nuances of childhood like in O’zbegim.

This new situation is so stale and narrow-minded for the woman, her headquarters are at the child-like side, who sees the situation as entrapping and after a while nudges the man-boy to run away from the simplistic controlling aspect of her own adult side. It may also be a case when the woman is content with that arrangement with her classical adult side in control and she only nudges the man out of that when she realizes that the situation is increasingly unsustainable for him and he might leave her for good. Or, while the arrangement with her classical adult side baby-sitting the two of them was not much of a problem for her, she has some degree of empathy for him and wants to do something about the situation when she sees how the man is increasingly unhappy. Or a mixture of all these situations.

Ben Hanımdan Korkarmıyım (“I am not afraid of my wife”) of the Turkish singer Oğuz Yılmaz is an example of the case in which both have their sense of adulthood crumbled apart, but the man does not have available the psychological technology to still provide a classical adult control of the situation in such a fluid diachronicity. Thus the situation continues indefinitely like in the middle part from Mini-mini in which that woman baby-sits the two children. The woman still does not have practical social power, this is something that mostly happens inside the family. She employs a classical adult framework, but while managing a fluid diachronic psychology. There are not yet available psychological tools to work with this fluidity as an adult in a large-scale social context. The man is still necessary to provide a general framework of organization and for convenience in general.

In Mini-mini, the child-like side of the woman nudges the child-like side of the man to run away from this situation, either because she realizes she may lose him or/and because she finds herself the situation too stale. Then the runaway child-like sides seek to find out by themselves how they can become more mature. When they find again that old woman, they pay more attention to what was she revealing. That initial old-wisdom side showing them how they are child-like and dispelling their impression of adulthood may have sensed that they do have a point (i.e. that the classical adulthood is not necessarily the solution, it was not specifically about directing them towards classical adulthood, but only showing them that they are not adults). This is why it could make the psychological bridge, but further on they had to discover by themselves how to assume the adult responsibilities while taking in consideration this fluid psychology (and it should also be reminded that some years earlier Farruh Komilov came up with Taram-taram, in which he had a better idea about the situation beyond the classical masculine bubble of knowledge as control of the situation).

The initial basic impulse of the classical adulthood in Mini-mini is the same as in O’zbegim of Kaniza, namely to find some way to control the child-like side. Only that in the former case, the woman is much more invested in her own child-like side than in her own classical adult side, as a result of the way her own old-wisdom side developed the situation. In O’zbegim, it is not about the old-wisdom side capable to intervene and formulate in a pertinent manner what is going on. The child-like side ended up scared of the complexity of the world beyond the bubble and it draws the attention of the adult side to an old-wisdom side, in the way the girls start praising the old Uzbek culture. But nothing moves for Kaniza regarding that old-wisdom side, with all the ensuing misunderstanding and caricatural control of her own child-like side. Seriously, where would you see in real life such small girls suddenly preaching about values and personalities of the old Uzbek culture?

Such people should be more aware that this is not about real-life children, but about a specific psychological structure in their minds that has a fluid way of perceiving the mind-blowing present tense flow of the world in connection with a deep fluid wisdom accumulated along generations. See for example Aldermeş of the Tatar singer Khania Farkhi. It is about the same direction towards the depths of the mind as in O’zbegim, only that in this case it is not from a an angle that wants to control a child-like side scared of the complexity of the outside world (an angle itself precipitated by a classical adulthood that does not pay proper attention to the psychological depth of this mixture of a fluid child-like approach to the present tense of real life with a fluid access to the deep wisdom accumulated along generations).

In Aldermeş, there is an angle that senses much better the gist of this situation. What the small girls stand for in O’zbegim, in Aldermeş is that spring that features along the video. The return to her hometown triggers for the singer a more direct angle towards the depths of the mind. That spring fits well a specific psychological structure that revives “madeleine moments”: memories of her youth and of experimenting love, then of her schoolgirl days, then of early childhood with her parents.

Basically, up to that moment, it is about the same thing as in the previous Taatta of Künney. Only that, in this latter case of Künney, the framework of the approach is to face the fluidity of real life with this kind of psychological fluidity. And the subsequent Çeeke can be seen as a continuation, exploring the world in this manner with a man who got the gist of this fluid psychology. In Aldermeş, it is about an introspective approach. Both of these approaches are valuable, since you both need to face real life and to also have some introspection.

So, in Aldermeş, when the fluidity of the mind reaches considerations about early childhood and about ancestors and the culture you grew up in, the reaction of the singer is to take this in consideration and impart, partake into this together with her close people by drinking from that spring. This opens the mind more consciously towards the gist of that fluid deep side with culture accumulated along generations. That old couple drink too, they cross the bridge like crossing into another relevant side of the mind and then the mind is opening to that accumulation of culture as represented by those bits of old Tatar cultural products.

It doesn’t take long to move into an area of a playful immersion in the present tense (the child-like part of this mixture of immersion in the accumulated old wisdom and the immersion in the mind-blowing present tense). It quickly follows her take on this playfulness, namely that she developed some personal nuances, rudiments of a new adulthood that grow from this psychology, expressed as a fire and an emotional stability she developed with her husband.

Künney also ends up immersing in this side of the mind, in Toñnuñ daa, in order to further open the mind of the man, when he does not know how to deal with this psychological fluidity. Only that in this case the structure of the video is, again, about direct applications regarding the fluidity of real life, not specifically about introspections as in Aldermeş.

Basically, in general, it is about a psychological structure like a mixture of the old woman and the small girl as inner characters of the woman from Apa 2. And you need to pay attention that this is not about real-life children, while it really is something child-like in the mind and you need to deal with that. The children have too this kind of mixture, but they deal with that from a real childhood angle. It is like there is a real-life childhood psychology that a child really experiences and also this mixture of a child-like angle with an old-wisdom angle. Children relate to this latter psychological mixture from the perspective of a real childhood psychology, while adults relate to it from the perspective of an adult psychology. For children it seems to also be like in Apa 2, but, instead of that young adult woman, there is a child who needs to relate to that mixture of the other child that works with the old woman.

To give some more idea about the old-wisdom side, something like İstanbul Ağlıyor of the Turkish singer Gülay is an even more introspective music video about the fluid immersion in the accumulated culture, her animus appears too. Something like Hayat Şaşırtır! of Aydilge or Sevadi yorim mani of Ziyoda express well the passage from this state of mind immersed in the accumulated culture towards the mind-blowing fluid perception of the present tense.

Something like Ellerin Oldu of the Turkish singer Seyhan Güler is the melancholic state of mind when the woman loses the long-term contact with this child-like unfoldment of the mind, the organizational structure in her mind feels so stale and suffocating and real-life children appear as an unadulterated source of that psychological fluidity. In this case, it does not feel with that classical adult controlling vibe of wanting to have the cake and eat it too in classical adult terms, it is more of a personal introspection that “something is going on with me, probably I need to do something about it, but I don’t know how”. This is not necessarily something to be ashamed of, because there is not yet enough relevant cultural expertise accumulated around how to relate to these psychological issues and people may need to (re)discover nuances by themselves. At least she is facing the situation directly.

A problematic nuance in the video is that it still casts a clueless gaze over the child, simply seen as a fortunate expressivity of that psychological fluidity, with no further empathetic wonderment about what is going on with him, turning into a superficial (veering into caricatural) portrayal. In the first place, a child is not some “independent unit capable of unfolding and bestowing psychological fluidity” as in the vibe from the video. This is the kind of nuance in which an adult casts adult attributes upon a child. That boy has a potential of adulthood that is already growing, but he likely needs some reliance on adults to grow up. But the adults themselves can be caught in these issues of lack of psychological fluidity and can turn melancholic.

It reminds me of the 2001 Japanese anime film Crayon Shin-chan: The Storm Called: The Adult Empire Strikes Back, which deals with issues created by the natsukashii theme in the Japanese society. The parents in the neighborhood are struck by the nostalgia of how things were decades ago and they progressively enter in a state of mind in which they live psychologically in that world from their youth. They neglect the children, and the latter need to take action to bring them back mentally to the present tense. This does not mean at all that immersing in the fluid accumulation of culture is a bad thing. On the contrary, it is very important, but it is necessary to pay more attention to what is this about and how it relates to the present tense.

Benim Yarim of the Turkish singer Songül Karlı is immersed in the same state of mind as in the previous Ellerin Oldu of Seyhan Güler. Only that in this case the singer positions herself in the psychological angle that I sense as the original one, that one in which the woman feels that she only has available an ecosystem of some psychological stability inside her, while outside there is the pressure of a huge unknown with dangerous potential. There is no classical masculine organization around capable to protect and project power and control of the situation, hence the woman relates to the outside world through a diachronic fluid multi-thread perception in order to face the complexity of the situation.

Psychologically, the space from Benim Yarim is the same inner space and the same encounter with the half-shadowed animus as that from the previous İstanbul Ağlıyor of Gülay, only that the latter video is a situation when the woman is just introspective and immersed in the culture accumulated along generations, while in the former case there is something in the world outside of her that poses some issues. This flushes whatever immersion was at that time, empties the inner space of whatever diachronically fluid “psychological furniture and decorum” was used at that time (the contrast between the empty space from Benim Yarim and the fluid immersion in the accumulated culture in İstanbul Ağlıyor).

In Benim Yarim, the immersion is in relation to the present tense of the outside world or it gets tied to something outside that needs some solution, in the way I describe the difference between these two videos in part 3 of The mindset of the populations of Siberian origin. This is the view from inside, with those stairs going into hard walls like the impulses to think in a simplistic manner about the outside world by following fast-track simplifying patterns like in classical masculinity. The woman feels they do not relate well to the situation, while she does not have readily available alternatives.

A masculine take on assuming this state of mind can be like with the man hitting the wall of men in Niye Böyle Dargın Bakarsın of Musa Eroğlu and Güler Duman. When men realize this psychology, it turns into a new psychological basis for them, because it is much more profound and relevant than a classical masculine fast-track patternizing development of ecosystems of knowledge. Only that it may not come with readily available relevant organizational tools to work with this in large-scale human social life.

The view towards outside, as sensed by men immersed in this state of mind is something like in Yuh Yuh of Cemali. This supposes some new synapses in the brain that go beyond classical human adulthood, it introduces a fluid multi-thread thinking that does not stay under the umbrella of classical masculine organization as projection of power around. It does not have further organizational ideas and it appears like that small girl showing the situation with the lantern.

In this case, there is also an adult feminine character capable to take over and give more adult depth to the situation (which explains the increased depth and relevance of the video). But this adult feminine expressivity is just about better capabilities to express what is that about, it does not offer relevant organizational ideas, while the men may struggle with finding such ideas too. Hence it does not decisively replace the initial concept of being out of the classical adulthood without further relevant adult ideas. And such an adult feminine angle is something that depends on a mixture of such expressive experiences with real-life adult women and of what was accumulated and developed as the man’s anima in his background.

The overall culture is permeated by this worldview and its diachronic multi-thread fluid psychology. This is the relevant psychology and, when people lose contact with it, they may feel like losing contact with a fluid psychology like that seen in children. Hence, someone like in Ellerin Oldu may be better informed that it is not something about children, but about a worldview like in Benim Yarim. And, ultimately, that the solution is to be friendly and in good terms with a specific multi-thread fluid psychology like in Stereo Video of the Tatar singer Gulnara Planka.

This is what Seyhan Güler yearns for in Ellerin Oldu or the Turkish singer Gülben Ergen in Ben Buralardan Gidicem with those multi-thread visual projection of themselves (more about the latter in the part 14 of The mindset of the populations of Siberian origin). At least two threads of fluidity like in Stereo Video give a feeling of liberation from stale linear thinking and of being immersed in that specific fluid psychology. This kind of psychology further offers possibilities in Altaic cultures to develop political structures that can manage pluralities of cultures and religions, like the management of people with divergent backgrounds and worldviews from İstikrarlı Hayal Hakikattir (“Consistent fantasy is reality”, translation in the description of the video) of the Turkish singer Gaye Su Akyol.

And, regarding the more direct opening of the mind about what is going on, it is not necessary to happen in circumstances of controlling a child-like side that ended up scared of the complexity of the world, as in O’zbegim. Kaniza in general revolves too around the previously described mixture. She has music with an interest in the accumulated Uzbek culture, like in Hotira or in Marvarid, and also music about the fluidity of the present tense, like in O’yna, which is however affected by the caricatural distorted control of this child-like side.

In the previous part I took in consideration something like O’zbegim and not something like Aldermeş, because the former is much closer to the Muslim concept of a closed space where you can have an easier clarity of the mind amid a huge complexity of the world. And, because I delved into the issues determined by such an approach, now I give an example like Aldermeş, which is much more humane, natural and authentic regarding such issues.

I feel that both O’zbegim and Aldermeş don’t derive directly from the Islamic ethos, they are too much anchored in some underlying psychological aspects of likely feminine origin from some Asian cultures, which determined among other things also a particular result like Islam. O’zbegim happens to be closer to the Islamic approach to these aspects.

The musical examples of Sabahat Akkiraz from the previous part (Akıttın Gözümden Yaşı and Değme Felek) had some balance between the child-like side and the side with an old-wisdom from the depths of the mind (these sides need constant improvement in relating to what real life offers on the way). The woman from Apa and Apa 2 of Ruslan Satenov has too some balance, but it appears that she does not pay much attention to it, it just happens in the back of her mind. Apa has some basic apprehensive premises about the complexity of the situation as in O’zbegim, but the collaboration of the old-wisdom side and the child-like side in the back of her mind is the one that has the essential role, not some classical sense of adulthood like in O’zbegim. Then, in Apa 2, before the arrival of the man, the older side cautions her about something, and then the child-like side makes the same cautionary sign with the finger and brings the man in the diachronic psychological fluidity with her behavior.

For an example in which the wisdom from the depths of the mind is on the roll, it comes to my mind Kilep jitermen yanına of the Tatar singer Dina Valieva. I first discovered it and listened it as the audio version at a Tatar radio and later on I was surprised when I saw the video. From the audio version, I was under impression that she was a significantly older woman. And it is not only that she is significantly younger than I expected, but also that she really has a vibe of psychological freshness in her visual presence that I was not imagining when only listening to the audio version. In this sense, I was also surprised by her immersion in the flattening, photographic-like mind of the man and still able to continue and flourish the diachronic fluid psychology.

This issue tends to turn into a problem for many women who don’t know how to deal with it. They want the masculine coherence and organization, but they don’t like how stale is such a psychological environment, like for example the on-going issue with the man “taking photos” in Maxabbatsız ömirdi kim sürmek of the Kazakh singer Abdijappar Alkoja, Nae ireum mutji maseyo of the North Korean siger Ri Gyeong Suk or in Boohey Barian of the Punjabi singer Hadiqa Kiani.

The previously mentioned Mini-mini was also another example in which the acting part of the children is obviously not about real children, who do not have such preoccupations and concerns. But it still is there in the mind of the adult something child-like and it is important to pay attention where you should really sense as an adult what is like to be mentally a child and not confuse the situation with an adult gaze upon it. Something like Seni ko’rdim of the Uzbek singer Shaxriyor is more about a focus on just seeing the authenticity of the child-like side slide into adulthood. But this straightforward focus may miss important issues and it may just turn into an adulthood that in some aspects thinks in child-like terms.

Something like in Ayrilamiz of the Uzbek singer Shahzoda pays more attention to the substance of the situation and it can grow wiser on the long term. It is not about a fast-track to adulthood, but about paying attention to what is going on. After all, this psychological structure of a mixture of a child-like side immersed in a diachronically fluid perception of the present tense and an old-wisdom side fluidly immersed in the accumulated culture is about opening the mind about more profound aspects of human social life, like in Yuh Yuh of Cemali, which otherwise tend to slide under the radar of the classical human sense of organization. The kind of issues Shahzoda pays attention to in the video.

The two children in the video are really just children, Shahzoda sensed the substance of the situation. Shaxriyor’s video appears neutral around this issue, it is not clear to me if he senses the substance of the situation. The thing is that in time issues around this child-like worldview are bound to appear if their depth is not realized by the adult side. And in such situations it is good to realize what is going on, like Farruh Komilov in Mini-mini, and see how to grow a more profound adulthood with a psychological fluidity at its core.

And, further on, this is not at all the end of the story. A man like that from Kusa of Guljigit Satıbekov knows how to take better in consideration the psychological fluidity, he assumes that as being his own personality, he is not about keeping children in non-threatening limits, but his mind ends up like an operating system full of bloatware when he lets that fluidity unfold.

In time, I found valuable an approach like in Uyansın of Neslihan Demirtaş (more in detail about it in Part 11 of Perceiving complexity). It is a move back and forth between the sense of self involved in the social life and a sense of self watching the situation from beyond the bubble of knowledge. With this back and forth move, you experience fresh perspectives until you feel you sense something more authentic. This still means that I can be lost in thoughts sometimes, but I am not so endlessly bogged down. This very detour around such topics, in a series that is supposed to be about Abrahamic mindsets in some major IT companies, feels like having general positive effects in this sense too, to understand better the situation.

There is a variety of angles in realizing how to keep improving an even more natural reorganization of the sense of self and of how to perceive things in this abyssal environment. I mentioned previously another one in how Riff Cohen came up with Que du bonheur after she got a better idea of the situation in Jean qui rit, Jean qui pleure.

In an Alevi context like Kirvem of Arzu or Niye Böyle Dargın Bakarsın of Musa Eroğlu and Güler Duman, something like this Bugün Yasta Gördüm of Tanbura Trio can be a start. That derelict building structure with nature growing through it (like the human sense of organization in serious need of readjustments) and the general vibe of the video can give an idea about how to see coherence and rationality in such a complex fluid psychology beyond the classical bubble of knowledge. Eğer Adem İsen of Nilüfer Sarıtaş looks like a woman’s own increased familiarity with such a psychological environment.

The Alevi religion brought up in some previous examples is nominally Muslim, but structurally it is not, not even Abrahamic, while among the Altaic Sunni and mainstream Shia Muslims it depends to what extent they are invested in the Muslim ethos. Many of them are not really invested and have similar psychological basics like the Alevis, maybe with less pressure to take seriously in consideration a worldview like in Yuh Yuh of Cemali. Or, if they are invested, it can’t help that the Muslim structure stays at a superficial level. It simply does not have enough substance when compared to this psychological depth. They mostly use it as a power structure for social organization. “Nasreddin Hoca”-type of perceptions can’t help showing that kind of angles that otherwise fall under the radar of the classical human sense of adulthood.

Both of the previous Alevi examples with a more tuned-in approach do not have the Jewish vibe of that abyss, they do not assume it so directly, but it is there. I am saying this in the idea that they have a more mollified vibe, which can make some people imagine some cozy lazy-minded New Age stuff. There is a serious mental abyss in there that opens the mind to an unexpected specific mental fluidity, you need to assume serious responsibilities about real life.

The “New Age”-like stuff this situation may be confused to rather looks like a cozy experience of some mental fluidity out of the existing organization. The existing organization is not really dismantled. But, in this Altaic case, it is a full-blown experience of a mental abyss, after which you rather want some sense of organization. To give an idea of the non-Islamic Altaic Turkish mental abyss, see this Trabzon Kolbastı Show or Keklik of Altan Erbulak (about the same thing as, for example, a Kazakh Mahabbat of Kayrat Baekenov and Format or the better known Korean Gangnam Style of PSY).

But, as I said previously, it can also be a more relaxed experience, like in Hayat Şaşırtır! of Aydilge or Bim Bam Bom of Yasemin Kumral (while the mental abyss is still there). Important is to really have your sense of self open to that mental fluidity (which also means assuming real life responsibilities about it while not losing its spirit). You should take in consideration all the other music videos that I mentioned along to get some idea that the main preoccupation is not “to be crazy”, but how to have a relevant social organization that takes in consideration this psychological fluidity (and social life can in fact get very restrictive and normed exactly because of this underlying mental abyss).

Ana meen (translation) of the Lebanese singer Najwa Karam has something like the Jewish direct assumption of the mental abyss by a woman, but it benefits from an easier context, in which the man is too clueless and too happy to just go along with the classical masculine mindset. Something like this makes the situation easier also for Künney in Toñnuñ daa. In the former case, the woman deliberately lets the man be the boss if he is so eager to be the boss, as he is a rather useful organizational support for that fluidity, while he is practically overwhelmed by its unfoldment and rather turns into a supportive vessel. In the latter case, the woman seeks to open the mind of the man to more profound perceptions, but she is relying the same as Najwa Karam on the simplifying concept of classical masculine organization. She is under impression that the classical masculine organization can sustain the complex diachronic fluid psychology as it is. She is just building upon this simplistic concept of organization, she is relying herself on that narrow-minded simplification. In reality, the classical human concept of organization would need some serious readjustments, I will get into more detail about this in the next part of this series.

In both cases, it does not feel like the women slide decisively into creating a self-centered classical sense of ego, they keep the situation natural with a feminine direct experience of the mental fluidity, this is their saving grace. However, they think in terms of expecting coherence from the classical masculine mindset, which is too narrow-minded to face the complexity of that fluidity.

But what are they going to do if the men start to see more directly this fluidity and think from its perspective? The previous Jewish and Alevi feminine approaches can give some idea (not necessarily as solutions, just to give some ideas in general). Eğer Adem İsen of Nilüfer Sarıtaş looks like a woman who considers more directly that fluidity and complexity beyond the bubble, as a world in itself.

And, for a man, it may not necessarily be in the terms from Que du bonheur to wait for a woman to take you into the coherence of that mental fluidity. If that happens, it is more like an introduction. The same as there is not much masculine psychological experience about what to do with that mental fluidity, there is not much feminine experience either. If it were, the women would have ruled the humanity since long time ago. After a while, I had to figure out lots of things by myself and it can also be a fruitful exchange of perspectives and experience between genders. Let’s see what we can do from now on.

For those men who may wonder if such psychological expertise of feminine inspiration may affect their sexual orientation, I can tell that I am as heterosexual as ever. In fact, I have heterosexual satisfaction and well-being that I would not have even dreamed before, the masculinity is reorganizing. This also means for me personally a very direct perception of what my sexuality is about and thus I have no problems with other sexual orientations, since there is no haziness in this sense. With an openness to let the introspection unfold and see what is going on and also with an openness to talk with people with other orientations some things are increasingly obvious.

To put this in context, such cultural environments in which men have increased awareness of a fluid diachronic psychology can make them defensive, with macho tendencies, under impression that their whole sense of organization is about to crumble down. Sometimes it is with the underlying impression and dread that they may turn gay if they pay too much attention to that psychology, there is the dread that if the existing island of organization crumbles down gayness is all that awaits on the other side, what else could be?

It is about an increased awareness of an unexpected psychology that still mostly revolves around the classical masculine organization and does not bring new relevant organizational options, with a vibe like in Indulj el egy úton of the Hungarian singers Ágnes and Kowalsky (my father’s model of masculinity). This folk interpretation of Indulj el egy úton (translation in the description) and maybe even more its visuals can give an idea about the profound, complex, fluid psychology that puts pressure on a masculine sense of competence like that of Kowalsky.

To give an idea about new developments and reorganizations, the character Porfiry Petrovich from Crime and Punishment of Dostoevsky looks like a specific recurring Altaic masculine inner character capable of analyzing situations without being stuck in edifices of knowledge as control of the situations. But Dostoevsky constantly portrays him as effeminate, probably he could could not wrap his mind around such a masculine approach. Initially the approach of this character appears influenced by how classical men see such psychology, later on it gets more into the groove. That recurring Altaic character is rather like the policeman from Şudıñ boyında of the Kazakh singer Ahan Otınşiev. It is a reorganized masculinity, some sort of a super-masculinity that has the psychological resources and patience to analyze a situation without the need to rely on existing psychological constructs.

Something like this kicked in when writing the previous part of this series and reaching the thoughts about Tarkan’s Şımarık. I recognized in that video a specific Turkish masculinity overwhelmed and defensive about adult feminine psychological expertise. In the context of using it as an example when seeking to explain how I sense the Muslim worldview, I paid more attention to the ending with the psychological relief by kissing the small girl. While knowing very well how it feels like the situation with the adult women from the video, I never thought of having such a psychological relief like at that end. And then it kicked in the troubling wonderment if I might have some unknown pedophile tendencies, as a result of this apprehension about adult experienced women. And then all that internal investigation, which ended up like in Şudıñ boyında.

Now in my forties, I already have a few decades of experience with this thing in my mind. Already as a teenager I ended up in the problem that comes next after paying more conscious attention to this psychological structure, as expressed by Ahan in Qayta qayta, released a while after Şudıñ boyında. Namely that this super-masculinity is mostly observational. It indeed feels like having a potential of projecting a sense of order and organization in the world that takes in consideration the huge fluid psychology, but in practice it does not really have organizational tools to get involved in real life. And, when trying to get involved in real life in a more serious and established manner, I had in practice just classical masculine organizational tools that are so linear, limited, stale, like what the other singer Rinat Satenov is doing in Qayta qayta.

And if I pursued this kind of organization I noticed how all my public presence turned so lame and apprehensive and unnatural, like Rinat Satenov in Sagınış. While previously I was getting the attention of girls like no tomorrow, like Ahan in Qayta qayta (this gets accentuated in the video because of the contrast with Rinat), when I was trying to think about what was going on that I was stirring this interest, all that charisma and naturalness was disappearing in thin air.

And the obvious realization was that I practically knew nothing about what creates such charisma, I was just riding it without having much idea about how it works, I was just in the flow. And that the rational part of me was clueless, inexperienced, apprehensive and puzzled like Rinat in Sagınış. And that there is still something legitimate in the basic stance of someone like Rinat to seek to understand rationally what is going on.

The saving grace probably was that the situation did not get stuck into an “Ahan” type of situation or a “Rinat” type of situation, I was fluctuating between them. In my twenties practical experience around these issues kept accumulating. When immersing in the fluid expressivity, I was also paying more attention to a state of mind like in Opmay-opmay of the Kazakh band Aziya with Baqay, which is not so apprehensive about the how this thing works (which is the issue in the Ahan/Rinat complex).

The man in suits appearing by the end has about the same role like the policeman in Şudıñ boyında, only that there is no feeling of unknown psychological territory to trigger investigations and it just expresses some abyssal sense of order that takes in consideration and honors the fluid psychology. Ultimately, something like an Ahan/Rinat complex continues to be necessary, because this one explores and tries to understand. But something like Opmay-opmay has its role too, to sense more consciously how it works in practice and then see how to formulate what is going on.

And this was while the rational angle, sometimes continuing with a pure amazement like that of Rinat in Sagınış, went also in directions of seeking to have some order in my life like in O’yna-o’yna of Ziyoda and see what is like and what is going on in me. And even further like in Kusa of Guljigit Satıbekov.

Then, by the beginning of my thirties, a relation with a woman like in Apa 2 of Ruslan Satenov opened my mind about an unexpected fluid psychology. There was something in the way her “old wisdom” character was introducing my mind into the internal coherence of her “child-like” side, in the way the two characters collaborate in the video. And this was unexpectedly offering a start to understand rationally a psychologically fluid “Ahan” side. It was something like an utterly unexpected “Rosetta Stone” and then the Kusa side of me had a more productive food for thought for years.

After all those previous years of haziness, the unexpected realization was that this fluid masculinity appears to be of feminine origin. Its internal coherence and working is practically made understandable with this feminine psychology. At that time, I did not have a focus on this mixture of old wisdom and child-like nuances. I was noticing something about it consciously, sometimes I was having dreams about her like being a small girl with an older woman who, as a result of what the small girl was doing, was intervening to keep the situation from getting detrimental to her or simply awry. But I did not pay specific attention to this aspect in the way it grew in the previous part of this series.

The small girl from the dreams was in totally non-sexual contexts and there was nothing in the atmosphere to make me think specifically about the angle that appeared in the previous part of this series regarding men taking advantage to manage in a real-life small girl a femininity under control. Sexuality was with her as the real-life woman, as the third feminine character in Apa 2. In time, I noticed something about Islam that I will get into more detail in the next parts of this series, but not with the more extended angles that I noticed in the previous part.

At that time, the investigation went into the direction to sense that this behavior, when specifically about Altaic people, appears to have its origins in some long-term excruciatingly difficult circumstances in the cultural past many generations ago, in which the men could not provide adequate protection. In that situation, some other circumstances (I started to get into detail about them in The mindset of the populations of Siberian origin series) contributed to a context in which the women snapped out and developed an abyssal femininity in action like in Kazagım-ay of the Kazakh band Gaukhartas. This further develops an abyssal masculinity like the awakened man with reflexive eyes from Amanat of the Kazakh band Hassak.

Tańdaý of the Kazakh band JUZIM can give some idea about how such a masculinity develops in that feminine inner space (the same inner space as that mentioned previously in examples like İstanbul Ağlıyor of Gülay and Benim Yarim of Songül Karlı). This is not a masculinity that is outrightly natural for what I would call a classical masculinity. It works with a fluid multi-thread psychology, not with a default linear classical masculine projection of power. The excruciatingly difficult circumstances that forged it happen to inadvertently limit drastically the personal options and thus it can function in such circumstances.

But, in normal life with a normal range of personal options, you really need to face the complexity of that multi-thread psychology. And further on there are a lot of other historical developments from this situation. This thing with an immersion in the accumulated culture in the inner space and with an immersion in the mind-blowing diachronically fluid present tense is one of them. It can also be a way for men to notice a worldview like in Yuh Yuh of Cemali.

I have a bit of a variety of culturally Altaic (Turkish, Tatar, Hungarian) backgrounds, I am from north-eastern Romania (I added the adverb “culturally” in order to include the Hungarian background too). I have also other backgrounds and among them the Jewish one resonates a lot with such an utterly reformed masculinity that gets a life of its own among men, while they don’t have readily available psychological tools to relate to it. The Jewish and Altaic psychologies need to deal with an approach to life like in Oşko of the Kyrgyz singers Totomidin and Surma. The man’s classical masculine organization melts down until he remains only with the “driving wheel” out of it.

It seems to stem from a further development by the women of a masculinity like the abyssal vibe developed in the mind of the Tatar singer Danir Sabirov by the woman’s father in Minem zakonlı hatınım (she is his real-life wife). This is not really about that father, but about a masculinity developed by the woman in the man’s mind that is theoretically able to take in consideration everything in the world, including the unknown beyond the classical human organization (with the intention to be able to function in normal circumstances, not only in excruciatingly difficult ones).

To some extent, it really is developed in this sense, to some other extent, it is only imagined by the woman that it makes sense of the world. And the imagined part is left to the man to figure out what to do with. This masculinity takes a life of its own among men. “God’s software” and “Caesar’s hardware” that I wrote about before has too its roots in this masculinity, but the original Jewish experience is without Christian “proprietary” nuances, it is a direct gaze into the diachronic unknown.

The aforementioned policeman from Şudıñ boyında of Ahan Otınşiev is one of the derivations of this new masculinity in the man’s mind. In this case, it is the situation of sliding into uncharted psychological territory, where the psychology of this abyssal masculinity comes in handy. When it feels like familiar territory and the man has some sense about how to relate to the respective diachronic psychological fluidity of that territory, it can manifest as well like the man appearing at the end of Opmay-opmay of the band Aziya with Baqay. And, of course, it is a matter of responsibility around what one considers as a familiar territory.

The development of this new masculinity in the men’s minds happened so many times in the past that you kind of grow up with it, it is part of the culture. It is not entirely necessary to have an experience with a woman like in Minem zakonlı hatınım (but it can help in order to understand better the nuances).

I did not plan at all to include so much Altaic cultural stuff, the intention was to write succinctly about how I view the three Abrahamic religions and about how the ethos of those IT companies relate to this mindset. But I kept discovering new nuances on the way and I want to investigate. I did not plan to divagate so much in this series that is supposed to deal with Abrahamic mindsets in some major IT companies, but it looks like unexpectedly such a concept offers me the possibility to investigate some things.

Now that I think of it, there simply is not much possibility in the current social life to think in terms of an ecosystem of knowledge amid a huge unknown, in the manner these major IT companies work. It turns for me into an unexpected outlet to imperiously investigate. If this series turns out too meandered, I will likely rewrite later its results in a more structured manner. But, for the moment, I want to see what is going on with unexpected angles of perception that appear in this practical possibility to take in consideration a large-scale social concept of an ecosystem of knowledge amid a huge diachronic fluid unknown.

It simply is about the structure that the concepts of these major IT companies offer. I already had in mind and developed for years much of the things that I write about here, but other unexpected angles keep appearing, like these more in-depth perceptions regarding a psychological structure of a mixture of an accumulated fluid old wisdom and of a child-like immersion in the present tense.

When I see how the text turned out in this series, I want to make sure that it does not give the idea that in the past I followed expressly some sort of crusade for maturity when producing the ideas from the other texts that I published before becoming more aware of a child-like side in the process of writing this series. This is rather the way it became emphasized in the context of this text that dealt with people who find peace of mind in children.

Probably I would not have achieved much if I had an express direction of seeking maturity, as initially I was very far from sensing such unexpected perspectives and a specific direction in the mind might have been misleading. It was just a vague need, I did not even think I could reach such understanding of the situation, the focus was on practical issues. It was not some fast-track quest for adulthood like in Seni ko’rdim of Shaxriyor, I did not have such awareness of a such a need in the first place. It was rather a focus on practical issues like in Ayrilamiz of Shahzoda, in the way the first part of Perceiving complexity starts. At that time, I did not pay specific attention that the children there are about a specific child-like side, with all the large-scale realizations that developed in this series.

When I wrote in the previous part of this series that the previous series are my take on adulthood, it was something thought on the spot in the context of noticing those issues around finding fulfillment in children. Something from the other previous texts that touches this subject of a need for some new sense of adulthood is the “masculine blonde” airhead approach to life of some Arab and Jewish men.

At the end of this part of the series, I should also add that a situation like in Taram-taram of Farruh Komilov is not necessarily that of the current Western image of a weak man controlled by the woman. It can be like that and the sheer amount of men believing in conspiracy theories of occult powers constantly manipulating them is rather a reflection of the way they don’t really have a control in their personal lives. This is because they keep the fiction of a control of the situation in their own lives, while not being open to face their own reality like Farruh Komilov and thus they project their practical lack of control in the social and political sphere. But it can as well be like in Tatarin of the Tatar singer Aigel, which outwardly looks like a masculinity lots of Western men would like to have.

In such Asian cultures, many women push the men to sense a more complex view of the world (it is not necessarily something malevolent from the part of the women, considering also that in the first place they are kept in a subordinate position and ultimately a more fair relation is necessary). Some men themselves cannot deal with that or even some of these women seek an easy way by just pushing the men to be domineering in order to make them slide into some psychological complexity they may not have much experience with and thus in fact making them dependent on the woman’s psychological support.

Someone like in Tatarin of the Tatar singer Aigel is in this situation, he is rather a woman’s fool. Someone like in Oşko of Totomidin and Surma is more in control of the situation himself, but the question is how much psychological expertise he has with that fluid complex view of the world. In his particular take on such a psychological environment, he remained only with the driving wheel, the rest of the classical masculine psychological machinery melted down (and this is just the beginning, in time he may still end up dependent on the woman if she is interested in pushing him to be even more daring without the necessary experience, as in the previous Tatarin).

These men are way out of the classical human bubble of knowledge, while they still continue only some rudimentary classical masculine organization in their mind that can keep functioning by leaning on the woman for an intimate, mostly unnoticed larger psychological support and/or remaining only with the driving wheel out of the classical masculine psychological machinery. And, if you pay attention to what is beyond the focus on the driving wheel, you notice such a complexity.

There is a variety of masculine nuances in such environment, previously I mentioned another one in Erkekpin men (“I am a man”) of the Kazakh singer Gazizkhan Şekerbekov, as the initial “wow” phase facilitated by a “man in suits” observational side of the man developed by women with a new reorganized masculinity to be in charge of this fluidity. This is a case in which the man does not pay attention that he slides in uncharted psychological territory and that an approach like in Şudıñ boyında of Ahan Otınşiev would rather be necessary.

Then you see him later in Dostarga with Meyrambek Besbaev where he is reckoning with the complexity of real life such an worldview opens for you, if you really follow with your mind what it is about. I see as largely natural perceptions like in Yuh Yuh of Cemali and Yuh Yuh of Koray Avcı, as they take in consideration the unknown beyond the classical sense of human organization. It is not a caricatural gaze about what is beyond that still seeks to uphold the tenets of the classical human thinking. The question is what to do with this opening of the mind.

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