Old Abrahamic religious mindsets in new IT companies (part 6)

⟵ Old Abrahamic religious mindsets in new IT companies (part 5)

Regarding the basic Jewish religious experience, I feel it as a serious one, as facing real life with a new masculinity initially likely developed with some feminine input in the distant history, a masculinity that really thinks from the diachronic perspective and is in charge of that unfoldment. Compared to a masculinity like the one produced by Najwa Karam in Ana meen (translation), the woman ends up to some extent out of the umbrella of classical masculinity as provider of organization, while she does not have other organizational ideas. She is not so much just about infusing the man like in Ana meen with a background diachronic organization sustained by her and that’s it. She has some realization that some things do not work well in the classical masculinity and she develops a new masculinity that is aware of such issues, like the vibe of the woman’s father in Minem zakonlı hatınım of Danir Sabirov.

The thing is that such masculinity is potentially able to think from the diachronic perspective and to be in charge of that unfoldment, but nobody really saw how it can really be put in practice in the diachronic unfoldment of real life. It has lots of blank spaces left by the woman to be filled in by the man, with his supposedly mysterious organizational possibilities. It is developed with the impression that there is a core in the classical masculinity that can work with the diachronicity, when in reality some utterly new aspects need to be discovered.

When immersing in that potential, it feels like in the aforementioned Hineni of Yossele Rosenblatt, with a contemporary Jewish perspective of both having such a valuable psychological depth and of what a complexity it entails. The latter perception kept developing in the initial period in the Jewish history, which saw a progressive dissipation of the innocence about where a simple “I can do it” leads to.

And, further on, when you are much more aware of that, you enter in the psychological structure with a wise side immersed in the accumulated culture and a child-like side immersed in the diachronic unfoldment. Something like the psychological age of the two characters that the Kazakh singer Ruslan Satenov notices at his girlfriend in Apa 2. I give this example just for the basic idea of such two characters, not for every specific nuance from this music video, since they can unfold with a variety of nuances related to their psychological structure.

To give an idea for the Jewish rabbinical context after the increased dissipation of innocence, see this interpretation of Yosef Hashem with Mona Rosenblum conducting the Freilach band, the Shira choir and the soloists Shulem Lemmer and Avrum Chaim Green. It starts with the Shira choir plunging in real life with the usual masculine feeling of being psychologically in control of the situation. But it does not take long to feel that there is much more to it in the perceptions of the diachronic unfoldment. Shulem Lemmer takes over with an expressivity of a diachronic psychological abyss. This has some abyssal coherence of its own as likely developed by the women in the past, but what to do in this situation? As you don’t really have psychological tools to work with it in practical real life.

The child soloist Avrum Chaim Green intervenes with an expressivity of the accumulated distilled cultural wisdom. He is conveying a psychological depth, like that of the older woman collaborating with the small girl in Apa 2. Shulem Lemmer is inspired by this and processes it on his own from his adult perspective to the point the mind is reorganized to some extent to take in consideration the diachronic fluidity while immersed in the unfoldment of real life. Then the music rebounds with a more joyous feeling and the Shira choir expresses this new masculine immersion in the diachronicity while going through life. Another interpretation of Yosef Hashem, by Shloime Taussig with the Yedidim Choir. In this case, Shloime Taussig is expressing both his adult identity realizing the diachronic complexity of real life and the mixture of child-like side and accumulated wisdom.

Obviously, this is not a solution in itself, it is more like a start in dealing with the complex diachronicity of real life, and further on you need to pay attention to what is going on in the unfoldment of real life. It is not at all a blanket “solution” as in Christianity or Islam, which seek to still keep the classical masculine peace of mind (which is too inadequate and lazy in such a context).

And it should be kept in mind that these interpretations of Yosef are about an accumulated historical Jewish experience of applying in real life that diachronic abyssal sense of organization of the new masculinity developed with some feminine input. The basic initial intentions are more like in Shalom Aleichem of Idan Yaniv, with great feelings about that sense of organization and great hopes for things going well when applying it in real life. The large scale application in real life is the unknown the singer is facing with great feelings when he is out of the building by the end of the music video.

And these basic intentions continue to remain relevant, the contemporary rabbinical Judaism has relevant at the same time both something like that interpretation of Shalom Aleichem and something like those interpretations of Yosef. The rabbinical Judaism continues to have those great feelings when out of the building by the end of the interpretation of Shalom Aleichem. There is a rabbinical nuance in the way the utter unknown appears so evident when he is out of the building.

On the one hand there is a rabbinical Jewish unknown like in this interpretation of Shalom Aleichem (when based on the great feelings from unfolding the basic intentions), on the other hand there is also a rabbinical Jewish unknown like in the interpretations of Yosef (which can appear for an empathetic Jewish woman as that abyss at the end of Jean qui rit, Jean qui pleure of Riff Cohen). And, in the rabbinical Jewish worldview, both these nuances simply go along. Plus other things from this worldview, since what I write here is around issues raised by the Muslim worldview. When I would write directly from the rabbinical Jewish perspective, this thing with the child-like angle would not have such an important role. And it would likely go into many other details specifically about nuances and developments from the Jewish context. The way I sketched some basic aspects in the part 4 of this series is more like what I would write directly about the Jewish perspective. But when taking the Muslim and Christian worldviews in consideration, the child-like aspects in the Jewish ethos appear much more to the forefront.

The child-like angle would not have such an important role when writing directly about the Jewish ethos, but it would not be something marginal either. It reminds me of that Jewish joke about how do we know that Jesus was Jewish. The answer is that (1) his mother thought he was God (the way many Jewish women tend to have great expectations from men, while infusing them with a diachronic abyssal sense of order; also, as an in-group joke without the need for further explanations, it is obvious that it is not literally about considering the son as God), (2) he thought his mother was virgin (the Jewish mind-shattering religious experience is related to some unexpected profound sexual fulfillment and the difficulties to relate to it from an organizational perspective ready to be applied in real life can make sexuality feel as something abyssal, not to be approached too casually; further on, it can make people avoid thinking too much about this topic in a direct way), (3) he lived with his parents well into his thirties (things related to this child-like side can make the Jewish passage into adulthood much more complex).

This kind of Apa 2 mixture of the child-like immersion in the present tense diachronicity and of the accumulated cultural wisdom in dealing with the diachronicity of real life appears to remind of Jung’s archetypes of puer aeternus and senex. Only that in the Jewish case there is an immersion in a psychological abyss, facilitated by the development of a new masculinity like the vibe of the woman’s father in Minem zakonlı hatınım of Danir Sabirov, with an expressiveness like in Hineni or Shema Yisrael, which really has some new relevant organizational nuances. Jung’s perspective is from a cozy angle of classical masculinity. The expressivity of the Jewish puer aeternus like sticking her tongue out by the end of Jean qui rit, Jean qui pleure of Riff Cohen (in this case, a feminine puella aeterna) is followed by being on the precipice of that abyss and there is some utterly unexpected relevant organization for that abyss.

I don’t even feel adequate a definition like puer aeternus (“eternal child”). That is seen from the perspective of a classical human psychological organization, clueless of these originally feminine possibilities of psychological organization in a diachronic abyss. With Jung’s denomination, the classical sense of organization still feels natural and this child-like side feels like something weird and “aeternus”, uninterested in becoming more mature (a maturity that really takes in consideration the diachronic psychological gist). In the Jewish case, that classical sense of organization is pulverized (while it remains relatable because there are no new relevant psychological tools), there is some perception how the child-like side makes some sense. However, it is not in the binary Jungian terms of taking it for granted or keeping it at bay (as stemming from relying on the classical sense of organization).

In the first place, the main sense of psychological orientation is a profound sense of organization, which is relevant only in a potential sense in relation to real life and initially it may not even have much to do with a child-like side. Something like Hineni of Yossele Rosenblatt does not have much to do with this child-like side. In the Muslim case, this is related to the Muhammad’s Mecca period vibe, like in the call to prayer interpreted by Sheikh Abdullah Al Zaili, which has the feminine valuable infusion, only that it lacks the Jewish masculine utter immersion and psychological reorganization in the psychological abyss, since the man is cocooned. And, further on, the child-like side seems to appear when seeking to relate this profound sense of organization to real life.

The unfoldment from Hineni is similar to something like in İstanbul Ağlıyor of the Turkish singer Gülay, both about being in an inner space of the accumulated culture. In the former case, it is about relating to an abyssal sense of order about everything, including what is beyond this inner space (a sense of order with lots of blank spaces if you really seek to see how it is applied in real life). In the latter case, Gülay just wonders about the meaning and the sense of order in the mind, including regarding what is beyond this inner space. The sense of order from the former Jewish case was likely attained with the development of a masculinity like the woman’s father in Minem zakonlı hatınım of Danir Sabirov.

And, when out of this inner space and immersed in real life with that fluid psychological depth, then it appears a child-like side, something like in Hayat Şaşırtır! (translation) of the Turkish singer Aydilge. The inner space is about a diachronic perspective on the distilled, already accumulated culture. The child-like side is about relating to the abyssal diachronic perceptions of the present tense.

It has something to do with the way many generations of women processed in a psychologically relevant way the diachronic perceptions of the present tense. When compared to the linear self-centered classical human sense of organization and its thinking processes, such diachronic perceptions are like some sort of psychological “quantum leaps”. It seems that this specific way to relate to the present tense was processed as continuing to be child-like after the girls were passing into adulthood. And, nowadays, this child-like thing has a life of its own. The children themselves have, on the one hand, their child personality of their respective age and, on the other hand, this child-like aspect that is in connection with an significantly older aspect that is about the accumulated culture. The child personality of the respective age and the child-like character feel different.

Given that the inner space is about the accumulated culture, the slide of the attention from it towards the present tense can feel like in the previous Hayat Şaşırtır!, with this feeling of moving from a world from the past to a mind-boggling present tense. Regarding this inner space immersion, that accumulation of what happened in the past is in fact very much alive psychologically inside you, it lives at its own present tenses. Sevadi yorim mani of the Uzbek singer Ziyoda can be an example of a more gradual, self-analytical move towards the mind-boggling present tense of real life. In Jononim mani she wonders more directly what is this inner space state of mind about. Initially with a traditional Uzbek dress, then a retro dress, then with an atemporal dress.

Think also of Amy Winehouse with her psychological depth accompanied by her retro dress style. Being immersed in the memory of the past in the inner space has a very important role in the Jewish culture and mindset. This is besides the relation to everything beyond the inner space through a potential abyssal sense of order like in Hineni of Yossele Rosenblatt. This potential does not seem necessarily related to the the puer aeternus/senex area. It seems that it is mostly when the mind is immersing in real-life applications that it can slide into that area.

Cheshmat (translation) of the (US-based) Iranian singer Mehrnoosh and Ya Hayati Ana Jambak of the Tunisian singer Latifa are some other examples about coming out of an inner space to explore the world and soon encountering a small girl. Latifa feels like not wanting to lose the perks of the easier simplistic classical human sense of organization and she is kind of restrained and in two minds about the questions of psychological organization brought by this experience. This may turn into just paying some cursory customary attention to the child-like side that soon appears or into seeking to control it, which can further turn for some women into a (mild or less mild) pedophile interest in small girls. Mehrnoosh finds some possibilities to relate to a psychology in action beyond the expectations of the simplistic classical human sense of organization. She realizes the necessity of some renegotiation of her sense of adulthood when noticing the small girl, something like the initial nuance in Hayat Şaşırtır! .

Still, both Cheshmat and Ya Hayati Ana Jambak have in common the fact that the woman continues with a focus on her personality developed through the classical human sense of organization (this is why I thought of giving them as additional examples, since I should add that many women are also like this). They are not so immersed in the mind-boggling diachronic perspective as in Hayat Şaşırtır! of Aydilge or as in the feminine context that determined something like in Shalom Aleichem of Idan Yaniv (it is not easy to find this kind of Jewish feminine musical examples, because the Jewish women tend to have a complex relation with this, I will write later on about it, for the moment you can get an idea from something like Af Echad with the two sides of Ania Bukstein).

The previous two examples with women who continue with the focus on the personality developed through the classical human sense of organization were, on the surface, exceedingly happy in a seemingly non-complex way. But, when one really is immersed in this state of mind and does not rely so much on the classical human sense of organization anymore, then you really need to deal with all the revealed complexity beyond the linear, self-centered nuances of the classical human sense of organization.

Hayat Şaşırtır! too has a hint about this, since by the end of the video the singer disappears. It is not easy to stay for a long time with the mind in this present-tense “quantum leaps” mind-boggling immersion, in her case it just happens for some periods of time. Shalom Aleichem is about lessons learned from a masculine perspective when really seeking to organize human social life with this psychology. The video is mostly about paying attention to what is this state of mind about and its nuances are like the tip of the iceberg. The less visible part is the historical experience accumulated with problems resulting from believing in this state of mind as a relevant organizational structure. By the end of the video, the singer has a more informed mental preparedness around how to consider and relate to an utter unknown when he is coming out of the inner space to explore the world.

And, around the fact that this child-like side is not a walk in the park, even before the accumulation of problems when seeking to apply this psychology in practice, in the first place, this child-like side can also show terrible things about what is beyond the inner space. This has an important role in determining the initial intention to apply this psychology in practice, as a result of the fact that the simple classical masculine concept of morality is shattered. It is about accumulated painful female experience that men may be clueless of, until they immerse too in such perceptions through this avenue, like in Yuh Yuh of Cemali. This likely determined the historically groundbreaking Jewish concept of morality.

A Jewish expressivity like in Shalom Aleichem of Idan Yaniv is about a hope that life can be organized in a good way with that abyssal masculinity developed by women, while taking in consideration the awareness of the long-term painful female experience. As I mentioned in previous parts of this series, given that the women tend to be under impression that there is a core in classical masculinity that can handle that, the initial “I can do it” like in Yuh Yuh intepreted by Haluk Özkan soon slides into something like an interpretation of Yuh Yuh of Koray Avcı and/or something like Oşko of Totomidin and Surma. And then it kind of feels more obviously that new concepts of adulthood are necessary.

Another aspect regarding the relation between the inner space of the accumulated culture and the child-like exploration of the present tense beyond is that, when the child-like side feels that the mind-boggling environment of the present tense is too challenging, it may have the initiative to retreat itself in the inner space and start praising the accumulated culture, as in O’zbegim of the Uzbek singer Kaniza. Although, in this case, Kaniza is kind of exploitative, feeling like she got the child-like side on the wrong foot and thus able to control it and keep it in a less challenging, caricatural framework.

→ Old Abrahamic religious mindsets in new IT companies (part 7)