Old Abrahamic religious mindsets in new IT companies (part 7)
The basic issue that determines the appearance of this child-like side seems to be the lack of ideas for a sense of organization more adequate to this diachronic fluid psychology developed by many generations of women. In this sense, I am lucky that, in my cultural repertoire, I am aware of some organizational possibilities (beyond the classical human one) discovered by Altaic women in the past. None of them is entirely effective to date (if they were, most likely they would have spread worldwide by now), but they give ideas that utterly unexpected organizational angles are possible and they can show and train the mind for utterly unexpected organizational possibilities.
One is that noticed in nature, as a huge unfoldment of life with a sense of organization that is much closer to a feminine diachronic psychology like in Habeit Ya Leil of Nawal El Zoghbi or in Yalan (translation) of the Turkish singer Aleyna Tilki. I mentioned in a previous part of this series musical examples like Szerelem of the Hungarian singer Rúzsa Magdolna, for the case when the woman relies on the sense of organization in nature to have an external gaze into the basics of the classical human sense of organization like the basic city structures from the video and infuse it with the larger one of nature.
On the other hand, in Erdő, erdő of the Hungarian band Holdviola, Barta Zsófia starts from the perspective of the classical human sense of organization, she continues with its structure in mind when getting back to nature and thus a small girl appears when immersing in the organization of nature (because the adulthood of the classical human sense of organization is not adequate for the larger sense of organization unfolding in the nature). The fact that she keeps that structure is not necessarily a bad thing, since it may still be necessary to study it, given the lack of other ideas. That one of nature is valuable, but there still do not appear noticeable organizational ideas readily available to put in practice. It is good to keep in mind both nuances of Szerelem and Erdő, erdő.
Sarman of the Tatar singer Yulia Garifullina is an example when the man is brought into the former psychological experience, really immersing in the organization of the nature and thus no child-like side vibe appears. Taatta of the Yakut singer Künney is an example when the man is brought into the latter psychological experience.
Another Altaic organizational possibility that I am aware of is that piercing gaze likely developed by women during long-term excruciating hardships in the distant historical past (more about this in the series The mindset of the populations of Siberian origin). This gives valuable ideas, but the issue here tends to be that many women do not realize that this does not work so smoothly in normal simple life.
The excruciating hardships limit considerably your options when being in action. Thus the complexity I mentioned previously is getting thinned in such difficult circumstances to a level comparable to that of the classical self-centered human sense of organization. What from a classical masculine organizational perspective gets too complicated in excruciatingly difficult circumstances, on the other hand, it gets simplified to workable levels for a feminine diachronic psychology. But, when seeking to apply this discovery in simple normal life, the usual huge complexity soon appears again and such a woman feels like in the previously mentioned Naqshli of Ravshanbek Abdullayev.
The men themselves may draw attention to the fact that, while the discovery is very valuable, the very basics of the human sense of organization need some major overhaul, like in Bugün Yasta Gördüm of the Alevi Turkish Tanbura Trio, in which that woman with a piercing gaze is brought into that derelict building with nature growing through it, in order to explore what can be done. Something like Haki of the same band in the same location is like a masculine immersion and study of a perspective like that from the previous Szerelem of Rúzsa Magdolna.
Another Altaic organizational possibility that I am aware of is one of the specific developments from the issues pointed out by the application of the “piercing gaze” in simple normal life. When noticing how the classical organizational structure of men who apply the “piercing gaze” in normal life melts down until they remain only with the monotheistic-like “driving wheel” through that fluid psychology, like in Oşko of Totomidin and Surma, further ideas appear about how to take in consideration and manage in a fluid way a variety of concomitant, fluid points of view, like the variety of people riding the bus in İstikrarlı Hayal Hakikattir of Gaye Su Akyol.
Something like this makes possible Altaic political capabilities to manage a variety of cultures and religions (and it has an important role in the way I work myself with such a variety). It still needs further insights, as in the current accumulated expertise, the “bus” is prone to break down from time to time if you slide in a more classical linear psychological plateau, like at the end of the video. The Ottoman Empire, as a good example of this application, could not find further answers after a while and the Turkish political structure reverted to a more basic “piercing gaze” organization (think of Atatürk’s piercing gaze).
See also Gaye Su Akyol in Bir Yaralı Kuştum, in a context in which she cannot sustain that “bus” through the diachronicity. First with her self-image in the outside world, with a vibe of problems, then the focus moves to the inner space. After some introspection, back to the outside world with a journey through dystopian emotions.
Another Altaic organizational possibility that I am aware of is the development of a new abyssal masculinity that really thinks from the point of view of the diachronic psychology, like the woman’s father psychological development in Danir Sabirov’s mind in Minem zakonlı hatınım. This happened so many times in the previous generations that it is not entirely necessary to experience this as an adult, you already grow with something like this to some extent, as immersed in the culture. This took a life of its own for the men, in many aspects dissociated from women, in order aspects in connection with real life women.
A short presentation of the application in real life is that when the man feels in familiar psychological territory and engages in the diachronic psychology, this abyssal masculinity able to provide some sense of unexpected order through it can feel like the man appearing by the end of Opmay-opmay of the Kazakh band Aziya with Baqay. When the man does not feel in familiar psychological territory while engaging in diachronic psychology, it can feel like the policeman from Şudıñ boyında of the Kazakh singer Ahan Otınşiev.
The basics of this abyssal masculinity are very similar to the basics of the Jewish concept of God. In the Jewish case, it further developed by assuming broad organizational depth like, for example, that of nature in the Altaic environment. Something like Hineni of Yossele Rosenblatt is in about the same psychological area as something like Sarman of Yulia Garifullina, while something like Shalom Aleichem of Idan Yaniv is in about the same psychological area as something like Taatta of Künney. Historical Jewish experience of applying this worldview in practice further developed organizational possibilities in the rabbinical Judaism to work with a variety of points of view, like in İstikrarlı Hayal Hakikattir of Gaye Su Akyol.
I find both the Jewish and the Altaic perspectives valuable, each of them has nuances interesting for the other. The Altaic immersion in nature as a broad sense of organization really provides some level of a practical broad organization, but it may not have specific human psychological nuances that are a breakthrough in contrast to the rest of nature (nuances that certainly need improvement and reform when related to the diachronic psychology).
The Jewish concept of God is more about a potential of such a broad organization, but it does not have much organization in practice, it is just a great immersion in a diachronic psychology. On the other hand, it has a reformed sense of mission and direction in life that can take in consideration this diachronic psychology.
The Jewish traditional organization is a punctilious obsession with order and with a myriad of rules that mostly give a sense of order in a restrained closed-off inner space. This while the Jewish concept of God is supposed to provide order for everything in the world. There are not much Jewish practical organizational resources for what is beyond the inner space.
After a while, on the one hand, the traditional Jewish ethos slid into the expectation of the appearance of a Messiah that will provide a sense of order in relation to everything in the world (again, that female impression of a core in classical masculinity that can deal with the diachronic psychology, this time dreaming of a knight in shining armor appearing out of nowhere to save the situation).
On the other hand, the rabbinical analytical nuances started to work with something like in İstikrarlı Hayal Hakikattir of Gaye Su Akyol. This really steps into the realm of providing order for everything in the world, not only in a closed-off inner space. But it mostly remained at the level of potentiality when it is about the world outside of the traditional Jewish inner space. Lots of analysis, but not much application in practice (when compared to Altaic practical large-scale political uses of something like in İstikrarlı Hayal Hakikattir). The focus is on a Messiah that would know how to make things work smoothly. The psychological point of orientation in the mind is still a classical masculine sense of competence, with some presumption that a man knows what to do.
What is good in the Jewish approach to something like in İstikrarlı Hayal Hakikattir is that the focus on masculine competence and the prospect of bungling it up turns into a study of how organization works and how things may not work in practice. Both Jewish and Altaic mindsets have an opening about the fact that classical masculinity is not as competent as it seems to be. To give some musical examples, see something like Russia & Ukraine of Rabbi Yoel Roth (notice the child voice intervening with an old wisdom vibe and providing some broad overview of the situation) and something like Soyam janım of the Tatar singer Firdus Tyamaev (many other examples like the latter one in part 8 of The mindset of the populations of Siberian origin).
It likely originated from women, the same as the kick-start of a new masculinity that really thinks from a diachronic perspective. The women still send contradictory signals because they are under impression that the core of the classical masculinity can work with the diachronic psychology. Nevertheless, this start of an utter reform makes possibles great feats of masculine mental strength and organization when facing difficulties. Something like the previous Jewish example facing weakness is behind Zelensky’s feats of strength, “I need ammunition, not a ride”. With such an experience of facing weakness, the psychological strength is way more authentic, relatable, realistic and effective. Think also of the feats of the contemporary state of Israel.
In the Altaic case, the possibility to really sense a large scale diachronic organization in nature makes possible to work directly in real life with something like İstikrarlı Hayal Hakikattir. In the Jewish case, this mental strength and diachronic organization is used in real life only when needing to defend themselves. Otherwise, it goes in the direction of sensing that they simply don’t have adequate psychological tools to apply this in real life beyond the Jewish inner space.
When I see something like İstikrarlı Hayal Hakikattir from an Altaic perspective, it is about lots of experience accumulated around applying this in real life, seeing the bus break down, seeking to repair it and thus understanding better the mechanisms (plus my own accumulated experience of working like this). When I see something like İstikrarlı Hayal Hakikattir from a Jewish perspective, it is about lots of experience accumulated around wondering about how the human mind needs to evolve and reform itself in a very unexpected non-linear way to be more relevant in a diachronic fluid psychology (plus my own accumulated experience of working like this).
In the Altaic case, the focus is more on why and how the bus breaks down when this is applied in real life. In the Jewish case, the focus is more on the utterly unexpected perspectives such a ride gives (both because of the plurality of people with a variety of perspectives inside the bus and because of the unexpected changes of perspectives outside the bus). This Jewish angle is what “just an immersion in nature” may not necessarily give, since nature may not have some specific human psychological breakthroughs. But, when I am aware of this, even an immersion in nature can be related to these specific human psychological angles and then I need to see what to do further on, what further reforms are necessary.
Another important aspect about the Jewish ethos and its initial concept of God is that the sense of mission and direction in life that I mentioned earlier as noticeably valuable is deeply affected by an opening of the mind like in Yuh Yuh of Cemali. Contrary to female expectations, such an opening does not necessarily mean immediate social relief, since utterly new organizational tools need to be discovered. Initially, it can just melt down the classical psychological organization of the man until he remains only with a monotheistic “driving wheel” through the fluid psychology, like in Oşko of Totomidin and Surma.
The more advanced nuances of Altaic and Jewish psychology that work with something like in İstikrarlı Hayal Hakikattir of Gaye Su Akyol can meet each other and appreciate what is interesting in the other. I hope the way I presented the situation here would not turn into simplistic “Nature Party” versus “God Party” partisanship, since it would be ridiculously misleading. In the first place, those who would consider a “Nature Party” partisanship don’t even realize how permeated they are by the more narrow-minded Abrahamic organizational nuances that are everywhere now in the modern world, in case they find in this basic word “nature” something to cling upon and believe in it as a new lazy concept of Abrahamic God (which is already the case with many who proclaim some superiority of the nature).
I remember now how in a discussion with a Salafist he was boasting that in Arabic there is not even a proper word for nature (as a supposed measure of a great Abrahamic abyssal purity, in the way he was conceiving such an abyssal purity). Current gung-ho “Nature Party” people that I notice in real life are not very much different from such Salafists. The original Jewish worldview is more nuanced in this sense, since it does not have some sort of a flat narrow belief at its core, it is about a direct immersion in a diachronic psychology and it really needs to face an utter unknown. There even is a New Year of the Trees (TuBishvat). In the first place, Jewish ethos is about an intimate connection with an abyssal sense of order that can explore new angles when something is brought to attention in a way that shows it really takes in consideration the diachronic gist.
Let me also give as an example this Connections advertisement of the Turkish company Beko for an idea about what I mean by immersion in nature from an Altaic angle. But, if I give this kind of example, I should also say that here it is also valid what I mentioned by the end of the part 3 of this series, since this kind of Altaic vibe can make people imagine some sort of a cozy lazy-minded New Age stuff. And there I added musical examples like 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), to give an idea about what a mental abyss such an immersion can open. A new masculinity like that mentioned previously makes possible some sense of diachronic psychological order through such fluidity. It can also be with more relaxed nuances, like the previous Altaic musical examples with nature or, when it is about human organization, like in Hayat Şaşırtır! of Aydilge.
The Jewish environment too has such fluidity, like for example in Preserve of The Apples, or in religious-related contexts like in that interpretation of Shema Yisrael or this Love of the band The Great Machine or this rabbi “going wild” (he is not really going wild in the idea of losing his mind, he has that kind of new masculinity that really works with the diachronic fluidity and has some unexpected, mostly potential, sense of order).
But, in the first place, the Christian and Muslim long-term demonization of the Jewish people decreases considerably the chances for many people to take this as a cozy lazy-minded New Age stuff. Plus that the Jewish vibe itself has nuances seeking to prevent this, like the initial guy from Mashiach of the band Shabak Samech showing his bad teeth in order to prevent viewers sliding into lazy-minded perceptions about the religious stuff he is talking about. It may be presented in a child-like funny way, but the focus should be on an abyssal sense of organization, which is a very good organizational nuance in the Jewish mindset (only that the specific method of “showing the bad teeth” to keep the connection with the authentic abyss shows considerable room for improvement when you have a more conscious idea about what is going on). This kind of Jewish view makes me point out also in Altaic contexts when it is not the case to imagine some lazy-minded stuff.
Let me give also a musical example like this collage of a Hasidic choir and band, for the contrast between the energetic musicians and the restrained, hazy-minded men watching it, to give an idea that much of the Jewish traditional life can be a restrained, hazy-minded or circumspect swim through a psychology like in Habeit Ya Leil of Nawal El Zoghbi, especially when confronted with such a vibrant manifestation of the diachronic psychology.
The vibe of those men in the background is exactly like that of Ania Bukstein by the end of Af Echad, when realizing that she has no chance to defeat that other side of her. This is the case for Jews who just want to have some sense of order in their minds. They may be solidary with the overall Jewish ethos, but they may not be so much in the mood for abyssal experiences with diachronic organizational potential.
The scream of the man by the beginning of this Na Nach Nachma Nachman Meuman collage is the other side of the story, when the heavily regulated traditional Jewish life in quest for some sense of order is too much, plus the external anti-Semitic pressure. This turns back the attention to the diachronic fluidity. Advanced nuances of rabbinical Judaism similar to those from İstikrarlı Hayal Hakikattir of Gaye Su Akyol are a start to relate to this overall situation. And, the same as in the video, be prepared to undergo yourself, even if you are the in the driver seat, all kinds of unexpected angles and perspectives.
I should add that the previous pendulation between heavy regulation and psychological fluidity is just one of the many courses of action noticeable in the Jewish social life. There are many others too. It can for example be the case of growing up with parents obsessed with order and with the idea that everything is so complicated in the world and that they need to prepare their child for that, like in Chagigah (translation) of Sarit Hadad. This can give you down the line such a deep appreciation for life, like in her Ohevet Tachaim (“I love this life”, translation). If it doesn’t turn you in the process into someone like the character George Costanza from the sitcom Seinfeld.
And, of course, there are also more balanced approaches to the Jewish ethos, especially when an utter unknown is sensed how to be taken in consideration. This attention to disrupted situations was triggered by noticing that similar aspects in the Altaic ethos can be perceived as lazy-minded “spiritual” stuff.
Albeit, in the Jewish case, every individual is involved in this diachronic psychology, like some sort of collective shamanism, by using Altaic traditional concepts. The previously mentioned Jewish sense of mission and direction in life is responsible for this, it spreads in the entire ethnic group a specific immersion in a potential abyssal diachronic sense of order. You need to pay attention to this kind of nuances by default (like the way I was quick to point out the abyssal aspect in the Altaic examples or in the Albanian and Altaic examples from part 11 of Perceiving complexity), if you want some sense of order in your life.
Everybody has a “shamanic calling” that they need to deal with, whether they like it or not. If they don’t pay proper attention to that, it will mean problems for them down the line. It reminds me of that Jewish joke: “How do you notice converts to Judaism in a synagogue? They are the only normal-looking people” (their children will be more like proper Jews by growing from the start in this environment).
This joke has a “problem of normality” that I notice in the Jewish mindset from the Altaic angle. There is a new relevant diachronic sense of order, but there is nothing practical that you really can apply in real life on a large scale. The basic orientation of the mind is like in Habeit Ya Leil of Nawal El Zoghbi, around the existing sense of normality in the social organization, like the possibility to watch from cinema seats a diachronic unfoldment in the existing social organization.
And I notice this even better when I really have available a practical organization outside the classical human one, with an immersion in nature like in Sarman of Yulia Garifullina. From this position I don’t need to orientate my mind around the existing social organization as if this is the only thing I know. Furthermore, I simply don’t need to orientate with my mind around it as a sense of normality. This concept of normality can crumble down, because I can be in on some other organization (while this organization of nature does not cater for some specific human psychological breakthroughs that the Jewish ethos takes more directly in consideration).
The Jewish ethos has this conundrum of a masculine opening of the mind like in Yuh Yuh of Cemali, which requires major reforms of the classical human sense of organization, while the practical psychological structure to relate to this classical sense of organization applied in practice is at most like in Habeit Ya Leil. Thus, instead of being able to develop an organization more adequate to the diachronicity, as I would think the situation from a perspective like in Sarman, it turns into battles in one’s mind with the existing sense of normality.
“Showing one’s bad teeth” is in the first place a battle in one’s mind about his public image and his desire to stay true to a gist that may be lost if the image drifts in a misleading direction. Destroying any “idolatry” is a battle for how to perceive the image, which does not have in itself much substance for the practical application of the gist. And, in the first place, there is this issue that those Jewish women in the past were under impression that there is a core in classical masculinity that can organize diachronic psychology. There was a presumption that a normality for the diachronic perspective already exists in the classical human sense of order when it is about practical applications. This is what gives the impression that a diachronic psychology can be applied through working on the public image.
Later rabbinical nuances with approaches like in İstikrarlı Hayal Hakikattir started to go beyond this when it is about practical applications. The previous joke about feeling like the converts to Judaism are the only normal-looking people in a synagogue is about the long-term accumulated experience that the application in practice opens some abyssal psychology, beyond those initial impressions that a straightforward battle for the public image is enough to be immersed in the diachronic gist. It is about having some relaxation around not being “normal” from starting to get the hang of more profound psychology, while not having available some overall relevant organizational structures for the huge complexity beyond that inner space.
And the way the joke is conceived shows that the perception is still like in Habeit Ya Leil. They simply have nothing else to relate to beyond the cinema seat position, in order to consider some other possibilities of “normality”. They just live with a psychological organization based on a diachronic perspective that is much more relevant than the classical human one, the initial feminine impression that there is a core in classical masculinity able to implement that perspective through a fight for a more relevant public image does not work (but it should be reminded that there really is a Jewish relevant abyssal diachronic sense of organization at a level of potentiality). It does not simply work by striving to replace an image with another (the fight for the public image of a monotheistic God), the historical experience opens their mind to some psychological insights they do not know very well how to relate to and they have to live with this conundrum of apparently not being “normal” while the rest of the world is blissfully minding its business in a classical human organization.
I notice this when I have other possibilities, like the Altaic immersion in nature. And, with such an immersion, I am not only able to not depend on the existing sense of normality, but also to work with a sense of organization that does not rely so much on the current classical human sense of normality. It is not so much about what is normal and what is not normal as a plateau of normality, but about how things work when I rely on some other sense of organization.
The Altaic feminine development of a new masculinity from a diachronic perspective is not so focused on the public image as the only concept of “reality” that you need to fight for. The Altaic feminine “cinema seat” position has much more of a life of its own, not necessarily focused on the unfoldment of public image like the only important thing. See for example Sargardoringman of the Uzbek singer Umidaxon, the man is brought in the cinema seat, he is not developed in the idea of taking charge of the public image from a diachronic perspective. The feminine capability to work much more with the cinema seat as an environment with a life of its own is made possible by finding a sense of organization in nature. This is what made it possible.
To give some Altaic masculine examples of further work with this perspective, you can see in Aldoqchi qiz of the Uzbek singer Botir Xon how a girl makes fun of several boys inviting them to a date in the same place and then having the time of her life watching them going through waves of elation and despair when chasing every attractive girl that passes by. This is because they live in the classical masculine organization, which from a feminine perspective is just a self-centered ecosystem of meaning that imagines and creates “reality” as it suits it best. One of them breaks that spell when he perceives the situation from an angle of weakness and slides into long-term Altaic masculine work with this perspective as inspired from the accumulated feminine experience. Now he has other perspective on things, he starts exploring the backside of that area, like the back of this classical linear masculine focus on simple images and he even discovers her.
However, if you think you found a gold mine of easy self-serving practices in this revelation of diachronic possibilities in the backside of the mind, you will likely “go Vladimir Putin” and drown in your own bullshit of manipulations. See Natasha qalay of the Uzbek singer Odilbek Abdullayev, in which the same actor from the previous Aldoqchi qiz immerses in a debauchery of manipulative practices (the initial version of the video had an introductory part in which he was stealing and eating the ice-cream of the boy who appears by the end, this is why his father was chasing him when seeing him again). It is necessary some sense of organization for this diachronicity, plus that you realize that indulging in easy self-serving practices only destroys your own sense of self and turns it into a sorry ruin, plus an opening of the mind like in Yuh Yuh of Cemali (but, as I said previously, this does not mean automatically doing the right thing, utterly new organizational angles are necessary).
The Tatar singer Danir Sabirov who initially underwent a development of a new masculinity with some similarities to the Jewish one in Minem zakonlı hatınım and then flirted with a Muhammad-like thought to find an organizational solution in a older woman in Danir-Venera, later found in Şoket it a possibility to use the Altaic feminine use of the cinema seat as a much more independent psychological angle to study his organizational and leadership practicalities.
Let me get into some more details about how I see this Jewish relation with the public image in order to give some idea about what is valuable there, to not give the impression that it is useless in comparison to the Altaic one. See how Nawal El Zoghbi moves from the cinema seat perspective in Habeit Ya Leil to that immersed in the classical human organization in Wala Beyhemeni, with an analysis of her self-image in the huge unfoldment of the human social organization.
See how the Lebanese singer Myriam Fares initially flexes her femininity in Eih Elly Byehsal and, when she feels herself more relevant in relation to the human social organization, she takes directly in consideration its huge diachronic unfoldment and she feels on top of the situation. Something like Ze Sheshomer Alay (translation) of Sarit Hadad, with a similar feminine capability to take in consideration the huge diachronic unfoldment of social life, is a more typical Jewish feminine approach, by developing a new masculinity to organize things with this huge diachronic perspective.
A more typical Lebanese co-option of the man tends to be along the usual Arabic feminine views on this topic, like in Ana meen (translation) of Najwa Karam, with the man pushed to the forefront as a hero with classical masculinity. He is not involved by the woman in the gist of her psychological fluidity, it is not about developing a new masculinity.
The Jewish women too have this tendency to push the man to be in charge of her fluid psychological complexity, related to the (initial) belief in a core in classical masculinity that can deal with the diachronic psychology. But, in the first place, the Jewish feminine approach is to create a new masculinity that can think from the perspective of the diachronic psychology, not just be a celebrated man as in Ana meen. And, further on (I will get later into more detail about this), the Jewish men have themselves something to rely on outside of the classical human concept of organization, in order to sense their situation and to fend off feminine pushes to turn them into simplistic “women’s heroes”.
I should add that sometimes I notice better depth of nuances in the unhinged Lebanese feminine expressivity that thrives behind the protective wall of foolish “women’s heroes”. But still, the Jewish angle remains valid when processing them. After all, this is how I have as a man an opening about this diachronic psychological depth. This is the way to go, not simplistic “women’s heroes” stuff. If I were a “woman’s hero”, I’d just be a dumb man doing who knows what else and not writing about this kind of stuff. The Lebanese feminine expressivity is possible by keeping things simple and classical in gender relations, just pinpoint the man in a “woman’s hero” position like pinning an insect in an insectarium.
This is way surpassed by a Jewish type of approach. The accumulation of Jewish history in that inner space already has resources to surpass this way more in many aspects, but it may get too complex (including for the Jewish women) and the expressivity of Lebanese women thriving behind foolish “women’s heroes” can give me some practical start to better understand some nuances.
This Jewish/Lebanese feminine capability to perceive the human social organization from the angle of a huge diachronic organizational unfoldment is valuable and the further Jewish feminine developments to really involve the man in its gist can have extraordinary results, comparable to a feminine Tatar immersion of the man in the huge diachronic organization of nature like in Sarman of Yulia Garifullina.
On the one hand, the Jewish approach caters to some specific human psychological breakthroughs that may not be present in the unfoldment of nature and it can offer some relevant angles to study the human psychology, its drive, sense of organization, meaning and mission in life. On the other hand, it can get stuck in the presumption that classical masculinity already has a core that can work with that, which turns into rather empty battles for the public image (Middle East in general is full of such empty battles, amplified even more by the fragility of Islam). As the things turn out for me personally, these Jewish and Altaic cultural angles, especially their more advanced nuances that work with a variety of perspectives like in İstikrarlı Hayal Hakikattir, can appreciate what is interesting in each other.