The mindset of the populations of Siberian origin (part 12)

Part of the series Perceiving complexity

⟵ The mindset of the populations of Siberian origin (part 11)

There are some approaches (that I am aware of) developed by women when dealing with men that do not really know how to work well with this originally feminine psychology. At this point this is only something originally feminine, as it first went through some substantial evolutions with the unexpected psychological power of those initial Altaic women and then it was also assumed by men.

One of these approaches is to push the man to be even more daring. If the woman is in a situation like in Oşko and it does not reach some reciprocal understanding like at the end of it, she can incite the man to be even more daring. After a while, the man goes way beyond the point in which he really can have classical masculine control of the situation in this fluid thinking. Without realizing, he is sliding into relying on the woman’s psychological support in order to sustain such levels of daring fluidity. In this manner, the woman has the background control of the situation.

It can be like in Tatarin (translation) of Aigel, the man appears so powerful psychologically and tough, but he managed to reach such a level with this simplistic flat self-confidence by relying on the woman’s support. This is what his mind is revolving around ultimately. The man loses his own work with that psychological fluidity and this kind of public presence that shows an external flat static confidence with no sign of personal work with the fluid abyssal psychology is easier to understand from an European perspective that is clueless about such mindset. Hence this turns into the more prevalent public imagery about Altaic men, as in this Russian language song about the label “Tatar man”.

In practice, there are further ramifications of this situation, depending on the level of control the woman exerts. If she makes the man too dependent on her, he is less able to think by himself and face the unknown of real life by himself. His daring approach to life is more about challenging already existing situations, no organizational initiatives of his own. The thuggish guy from the previous video appears to be in this kind of situation. If both the woman has some comfortability to let the man have some real initiative and the man has the realization about facing the unknown of real life, the latter can be interested in organizational initiatives of his own. There is a continuum from increasingly immersing the man even more in this “power mode” as a way for the woman to alleviate the controlling situation and a genuine direct interest in the study of this “power mode” like the vibe from the Korean traditional dance that I mentioned in a previous part of this series.

Another feminine approach that I am aware of is facilitated by psychological immersion in nature. Nature is very important in the Altaic mindset, probably it appeared early on as a valuable prop for the unfoldment of the fluid psychology once the latter went mainstream, but without adequate mental tools to work with. Nature is sustaining a fluid complex abyssal unfoldment of the situation like in Habeit Ya Leil of the Lebanese singer Nawal El Zoghbi, as a strong organization of its own, not around the classical masculine self-centered organization as in this video. The unfoldment of the alive part of it is even more recognizable by a human.

Let me give as an example a series of videos by the Yakut singer Künney. In Taatta, you can see how the old man is progressively rejuvenated until he becomes a newborn, in the idea of making the mental passage to think from the perspective of that huge fluid unfoldment. His psychological structure is progressively fluidized and opened about how to think from that perspective.

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 notices how to explore the fluidity of the world beyond the classical masculine bubble of knowledge. The exploration along and around that road is that state of the mind of going through life when immersed in that fluid psychology, like in Naqshli of the Uzbek singer Ravshanbek Abdullayev or like in Oşko of the Kyrgyz singers Totomidin and Surma. Only that in this case it is a much improved situation with the experience accumulated by the problems created by initial application of this fluid psychology and further applications like in Erkekpin men of the Kazakh singer Gazizkhan Şekerbekov.

It can manifest as something mostly observational, the gearing up with sudden increase in speed at the end of the video is how it can feel like for a man when he is expected to provide organization while taking in consideration such a huge amount of fluid information. In Erkekpin men, the man is in action, as the woman only provides the support for his activity. Here the woman provides also the organization with the help of the prop on the nature, but this organization does not have an active side of it (while the woman is under impression that the man knows innately how to act).

The man may have gotten the idea, but this does not necessarily mean that there are also mental tools to work with it. Even more, as he is now so aware of a psychology like in Habeit Ya Leil, but still with a classical thinking, he may become very fragile with this deep knowledge that every specific action he chooses is just one among many possibilities. A man who is clueless of the huge psychological possibilities beyond his bubble simply takes for granted his “knowledge”. 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.

This is further compounded when the woman is expecting the classical human coherence to continue as usually, which translates into practical expectation for the man to continue to provide coherence. This is the case in Taatta and Çeeke, the woman’s conceptual approach is that of opening up the mind of the man about how to be immersed psychologically in that fluidity and work with it. But this is done as an extension of the man’s existing organization. She is under impression that there is a core in the man’s existing organization that can work with the diachronic psychology, while the man is blind to what is beyond his bubble of knowledge. Why can’t you see the huge fluid psychology beyond? She understands this opening of the mind as something additional to the existing organization. As I will get later on into more detail, in fact such opening of the mind shows serious basic conceptual problems in the classical human organization. Once realizing what is beyond, you can’t simply continue with it. New organizational perceptions are necessary.

Further on for Künney, in Toñnuñ daa, you can see how the man becomes fragile when another man disrupts him, exactly because he experienced that mental fluidity. In Yakut/Sakha, “çeeke” and “kaaka” are 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 fragile when experiencing this mental fluidity while they still continue thinking in terms of knowledge as control of the situation.

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.

There is still a problem in this approach in the way she expects the men to get the idea, seeing them like immature children who do not notice such obvious mature perceptions. She is relying herself for overall coherence on that poor quality immature side of the classical human thinking and thus perpetuating it. She is under impression that there is a core in the classical human organization that works, as she did not experience himself how it is to work practically with this organization.

In order to reach with an explanation the problematic part in this approach, I would need first to write something about the valuable part. An aspect that I notice around what makes possible these Altaic feminine developments in relations with men is that a woman may need to have some psychological possibility to take masculinity in consideration and have some wonderment about it, something like in Telӓk of the Tatar singer Irkӓ. There is a feminine mystery about how masculinity works and has the focus to get things done. In order to further work with masculinity, the woman needs to have some psychological path to face that unknown. It is not like she is figuring out entirely what is going on, but it is still important to face the organizational abyss. Probably the toughness and difficulties of life in the Siberian past made the women realize that they can face the organizational abyss and still not lose contact with that fluid psychology that gives women a sense of authenticity in facing the complexity of the world. (And just to mention that it is not like the men have a clear idea about how masculinity works, many times they can have even less conscious perspective about this than women, but they are just unfolding it naturally.)

You can notice in a video like Eye şul, şulay şul of the Tatar singer Alina Ahmetşina how at 1:20, after that “I’m beautiful” pose, she is not wavering when asked to give a tool from the box. She is not figuring out from the start what is necessary, but she is still going ahead and finds a psychological possibility to accept the unknown of the situation. I notice how classical women can have in such situations reactions like “I am stepping in an area that is destroying my femininity if I immerse too much in such masculine environment”. Further on, she has one of those feminine initiatives to give the men some unexpected shock, in order to take them out of their trodden static paths and refresh their minds and, depending on the context, to keep them on their toes (as an ongoing refreshment along the lines of Taatta). It is good in such cases to have some openness about how masculinity works, as many times such feminine initiatives do not make meaningful bridges with the men’s minds and only annoy them.

Some of that feminine feeling of stepping in an area that is destroying something valuable in the femininity is incumbent in the worldview from Yuh Yuh of Cemali. This is something that has to be faced and see what to do about it. I don’t see it as something that has to be avoided while chasing the goal to reach a psychological path to take masculinity in consideration, as this probably goes nowhere. Such a start in taking in consideration the area covered by masculinity can be rather by finding some ways to take in consideration the raw abyss about the organizational pressure from real life as it keeps pounding you relentlessly (which is the case to some extent in Yuh Yuh of Cemali), in order to not step into the classical masculine sense of “reality” about real life.

This appears to be something between the fluid psychological depth that gives a woman a sense of authenticity / psychological normality and the expectations of masculine sense of order. Many times women believe more than men in the classical masculine sense of order. They notice many inconsistencies in its generated “reality” and they can get many times a raw deal from its poor quality structure. But, as they do not have this “I can project control of the situation in the world” perspective (which opens the way to dispose of the “reality” as you see fit), they can cling even more than men to its basic sense of order for some meaning in life. They tend to avoid stepping into its generated ridiculous concept of static “reality”, but they appear to have an almost unconditional reliance on a masculine basic sense of order based on a mysterious sense of power.

From my masculine perspective, it appears that this mystery is simply about a stance of the mind of being able to take decisions about real life and shape it as you see fit. It looks like a woman is reluctant to step herself in this state of mind even when she is not prevented to, as that specific classical human decisional process involves the development of an ecosystem of meaning about the world spreading in all directions like a spider web. This perspective is so phony for a woman, as she is basing her psychology on a fluid diachronic perspective like in Habeit Ya Leil of Nawal El Zoghbi. It has much more depth and, once you are aware of it, you can’t really get back to a simplistic psychology, you can’t un-know it. But, the same as in this video example, she does not have organizational alternatives, she is still relying a lot on that ecosystem of meaning as a basic sense of order around which she can unfold the fluid diachronic psychology.

She does not want to step herself into the power that sustains that ecosystem of meaning, but she still relies on it. She is unfolding the fluid diachronic psychology around it and also is unfolding as necessary the fluid diachronic psychology around the unknown in general. The latter part can feel like a non-psychology, like something beyond the usual human concept of organized conscience, around which you don’t really know how to relate to in some way that would appear obviously and readily consistent and conscious (while it may feel so deeply relevant and unexpectedly organized in some way).

It looks like the avoidance of stepping into that power seat turns the generation of that power into a mystery. Women who have practical experiences of stepping into the power seat may end up just working with the existing situation in the respective ecosystem, they do not use that position to generate new perspectives. It can turn in situations like in Kel yarashaylik of the Uzbek singer Umidaxon. When sharing so directly an ecosystem of meaning with a partner and some of its knowledge as control of the situation goes in different directions, it may feel like the entire edifice of meaning crumbles down. Even some tiny differences in that “knowledge” show how the entire edifice is not some “reality by default”, but an ecosystem of meaning based on control of the situation. And then the question is do you have the control of the situation in order to not let the consistency of that edifice crumble down?

The woman has available the larger perspective like in Habeit Ya Leil of Nawal El Zoghbi, like the entanglement of cable threads around Umidaxon in her video. She is basing her psychology on that and it reveals too much how this classical human concept of meaning is not “reality by default”, but just an ecosystem of meaning based on control of the situation. In the same time, she is under impression that this ecosystem of meaning has a workable core. She does not have the organizational prop of nature, like in the previous case of Künney to be able to sustain in an organized manner the larger perspective. And then her reaction is be to wrestle off the man’s control of the situation in order to safeguard the sense of consistency of that ecosystem in her mind. The man may not like it and reply in kind, which may turn into a spiral of retorts. In this video, it is expected for the man to let go. Not this case in the experience of the Uzbek singer Munisa Rizaeva in Xafa-xafa.

Apparently, such a human ecosystem of meaning is about an inner coherence. However, as it has such a poor quality in contact with real life, in practice the men make it work by suspending when necessary the belief in its inner coherence and consistence and just rely on a direct sense of control of the situation when facing real life. This does not tie you down to it as an ecosystem, you are not entirely within it like a character in a computer game, you are the one controlling it and shape it as necessary in contact with real life (usually in classical masculinity by enforcing a belief in its consistency).

This is the aspect that comes to light for a man, when under pressure for a woman to work with the larger perspective, but still keep the usual human classical organizational core for her coherence. It can feel like at the beginning of the music video Qızdar-ay qızdar of the Kazakh singer Amanğali, with the man capable to stay out of the ecosystem of meaning and work with it like with an operating system, while the woman is inside it.

As the women do not step into this controlling state of the mind, the real source of the consistency of such human ecosystems of meaning turns into a mystery around power. When stepping into the central area about the consistency of such ecosystems, they may have the tendency to work with the existing situations and wrestle off the control of the situation even for tiny divergences in how the “knowledge” develops diachronically. The man may let go as in Kel yarashaylik because he has the psychological possibility to not be tied down by the consistency of such an ecosystem. Or, with the same psychological possibility, he may be cool and smirking like in Xafa-xafa while the spiral of retorts just keeps unfolding endlessly. In such contexts, the woman notices indirectly even more that mystery around power.

The long-term feminine experience around these issues is to pay attention to not rush into that central decisional area of the ecosystem with defining decisions like this is this and that is that. There is some accumulated experience that she may not sustain so easily such decisions down the line and she may end up in spirals of wrestling off control of the situation in order to not affect the overall consistency of the ecosystem. Better to keep staying focused on the fluid unknown and not get entangled in issues that may make you face too much how the social structure you live in is just a flimsy ecosystem of meaning that needs to be supported with decisional power.

Something similar for situations in which the woman has an initial good feeling about the social structure she lives in, as a satisfying immersion in an ecosystem of meaning, like in Malay na belom Barse of the Tatar singer Leyna, only to have later on unexpected perceptions from that side of her that still thinks like in Habeit Ya Leil. This opens up all kind of perspectives about what may happen diachronically based on the long-term experience in her background, like in the subsequent Aerılmagız of the same Leyna.

Some women who became too invested in the satisfaction of the coherence of the ecosystem of meaning can feel then how such insights are threatening that investment. They do not have the possibility to just step into a “power mode” like the men to suspend the belief in the consistency of the ecosystem and work with it and shape it as necessary. They may enter in a dedublation of denial of such insights and pursuit of such insights at the same time. They may enter in spirals of justifications around the consistency of the ecosystem (justifications that are constantly challenged by the insights and they constantly need patching up).

The more psychologically adult feminine experience around such issues is to face that such an ecosystem does not have the coherence it purports to have (which supposes assuming some responsibilities in facing real life), to pay more attention to that fluid psychological abyss and thus have the possibility to face such insights. They are not so damaging by default.

There are women who can be effective in overall organization with all this long-term accumulated experience and with personal work with how to be effective in facing real life. Some may create a facade of masculine-like authority, but the practical psychology may not necessarily be like that (Margaret Thatcher took lessons of speaking authoritatively like a man, in order to be taken more seriously). Nowadays, in some cases things appear to change to some extent, Angela Merkel became known for avoiding for long periods of time to draw clear public conclusions and make clear decisions (the long-term experience around not being trapped in issues around the mystery of power). She could introduce this in the public exertion of her authority and yet her leadership was valuable. This is about work with the ecosystem of meaning as social organization, as a world in itself. In a line of work facing raw real life, like the ship captain Marwa Elselehdar, probably the realization about how to stay focused on the unknown can make you an effective leader (she was recently in public limelight when being wrongly accused on social media for blocking the Suez Canal, like some sort of alternative Jew guilty for whatever problem in the society). The awareness of this focus on the unknown probably can be used when working with an ecosystem of meaning. Overall, it remains to be seen how things will evolve around these issues in the human history to come.

Back to the Altaic topic, it appears that a long-term historical harsh context that was exceedingly difficult for men to deal with opened the way for some (pre-)Altaic women in the past to see more clearly the men failing in the proper use of that basic sense of power. They were increasingly noticing how aspects from the long-term accumulated feminine experience beyond the classical masculine concept of “reality” were practically much more valuable in facing such complex situations. An unexpectedly valuable psychology and strength may appear when you have a long-term experience with letting unfold a plurality of angles and diachronic probabilities in relating to real life.

The way things shaped up for those women was to dissociate the concept of power from the practical failures of the men. This concept continued to be felt as the central tenet of what makes a human life effective, with the classical feminine mysticism about its mystery. The men were failing in its use, the women noticed or experienced themselves initially a psychologically abyssal unfoldment of power.

After some time, it became increasingly obvious in practical applications that this new discovery works naturally only in overwhelmingly difficult situations. It may look counter-intuitive, but a thinking like in Habeit Ya Leil of Nawal El Zoghbi can be much more effective in facing real life when dealing with long-term recurring overwhelming situations. The sustained long-term difficulty aspect reduces the feeling of unfathomableness around the unknown this kind of thinking is noticing. And the overwhelming aspect itself is reducing considerably the complexity of the thinking, you are too much conditioned by the situation while you continue facing the diachronic unknown. You are not too much in a position of deciding what you want to do yourself. This is an environment that can develop what I call ebru thinking, with only a single thread in the “cinema seat” dealing with the plurality of diachronic threads in relation to real life, like in Yar Ali Senden Medet of the Turkish singer Yıldız Tilbe, the overwhelming difficulty of the situation limits the “cinema seat” diachronic self-expression to s single thread.

The single thread permits some psychological organization. But this is still not a relieving solution for the human thinking in general. On the one hand, it does not really replace the classical human thinking based on an ecosystem of meaning sustained with power. On the other hand, in the long term, you still need the plurality of diachronic threads in the “cinema seat”, this is how the diachronic psychology works. From time to time you need psychological refreshment to get that plurality. Things get stale only with a single thread in the “cinema seat”. The role of nature turned very important in this sense early on as a way to refresh the plurality of threads. As you can see, I am using Habeit Ya Leil of the Lebanese singer Nawal El Zoghbi as an example for the plurality of threads in the “cinema seat”, as I could not find an Altaic one.

This new sense of power with its associated ebru thinking, although a huge step forwards, does not really bring a new human psychological organization, there is still lots of work to do. When you apply it in normal life, you still enter mentally in the classical human organization and you have to deal with the part that the classical femininity has no practical experience with. While being mentally in the ecosystem of meaning and needing to work with it in contact with real life, you constantly need to suspend the belief in its consistency and rely on psychological power to see how to tweak its poor quality organizational results in contact with real life.

Historically, it was mostly about men seeing how to deal in practical life with both the new sense of abyssal power and the power to work with the ecosystem while suspending the belief in it. Two videos produced by the married Tatar musicians Salavat Minnikhanov and Guzelem describe well these issues, with a better understanding of the situation. They were released in about the same time, with each of the two points of view. In Salavat’s video, Janım belen ant item, he is learning from her about an abyssal psychological power and associated fluid thinking when dealing with dangerous situations.

In Guzelem’s video, Ay-hay karaşların, she is learning from him about how to suspend the belief in the consistency of the ecosystem. She doesn’t like when he is dismissive of her misstep. She has already some personal investment in the ecosystem of meaning, with a feeling that she has some power of her own, as a continuation of the impression that the Altaic single “cinema seat” thread going through difficulties can simply be applied in normal social life. However, in normal social life there are no more overwhelming difficulties to restrict by themselves anymore your “cinema seat” perspective to a single thread. As she does not work with that classical masculine suspension of belief in the consistency of the ecosystem while thinking diachronically, even a small problem can feel like the entire ecosystem is crumbling (she has a deep awareness how a static situation can go diachronically in all kinds of unexpected directions, like in Habeit Ya Leil).

Hence she starts to wrestle off his control of the situation, in order to safeguard the consistency. Flying an airplane above the clouds is like the feeling of control of the situation. In this case, he is rather concerned about her safety when going in that psychological area and he takes too an airplane to be around. And indeed, soon it appears a context where she does not know how to maneuver the airplane. Sooner or later, the diachronic evolution of the ecosystem in contact with real life goes into the realm of Habeit Ya Leil of Nawal El Zoghbi.

As such an ecosystem works as a simplistic synchronic fiction, the solution the men found early on in the human history was to suspend when necessary the belief in its consistency and rely on personal power when tweaking its inconsistencies (usually in order to continue the impression of the fiction of consistency, which misses much of the psychological value from Habeit Ya Leil). He is giving her some ideas about how to suspend the belief and feel in control of the situation when facing the unknown, in situations where the mind is invested in the ecosystem.

Probably it mattered a lot that in the past she did not treat him too much like a man who supposedly has the abilities to work with the diachronic psychology, only that he applies them badly, which only dumps on the man huge organizational responsibilities that cannot be solved with the classical masculine psychological organization. For a woman the alternative may feel like pushing her to step herself in an unfeminine responsibility, but this is just linear thinking. The basic issue is that the classical masculine organization is a poor quality make-believe creation of ecosystems of meaning, it does not have a core able to work with the diachronic psychology that many women are under impression it has. It is not about the woman stepping herself in that organization, just contemplate it as in the previously mentioned Telӓk and Eye şul, şulay şul and realize how the diachronic psychology is a world in itself, like the vibe from Eğer Adem İsen of the Turkish singer Nilüfer Sarıtaş. All this while facing the unknown of real life.

Janım belen ant item and Ay-hay karaşların are a good case in which the two parties put some effort in facing these issues. I mentioned before cases in which this turns into a spiral of retorts. This situation can also turn into a female plateau of feeling in control of the situation, when the man does not even bother anymore to retort. He is just cool on the sideline, he still has the power given by possibility to suspend the belief in the consistency of the ecosystem and the woman even in the apparent powerful position continues to revolve her mind around him, something like in Yonar of the Uzbek singer Munisa Rizayeva.

This can be in fact a good situation for a man to understand better what is with this female psychology, as the woman’s psychological clout is reduced because of her feeling of strength and it gets into the realm where the men have a more native understanding and they can make better psychological passages to the other thinking. My impression is that in the past many Altaic masculine light-bulb moments about what is with this psychology appeared in such situations. This can be a start for men to understand how to have a background control of the situation and let unfold a plurality of identities like in İstikrarlı Hayal Hakikattir. But the vibe of the mother-in-law from the video can also give an idea about the source of the poor quality type of fragile and dictatorial Altaic leadership that is the opposite of working with a plurality of points of view and is obsessed with the control of the tiniest details, in order to preserve some coherence.

This is the situation in which the woman has some satisfaction of being in control of the situation. As there can be situations in which the woman still does not really feel that control and she becomes increasingly petty and narrow-minded to the point the man finds himself some of that psychological power that feels relevant from the diachronic abyssal perspective and puts some order in the situation in a way that feels relevant and authentic for the woman, like at the end of Kechikish of the Uzbek singer Bahrom Nazarov.

There can also be situations in which the woman is in a powerful position, but inadvertently she does not become so entrenched in identifying with the ecosystem of meaning as control of the situation. She still has a vibrant fluid side of herself and the man’s mind in this situation can turn into a never-ending chase of hedonistic pleasures under the woman’s organizational umbrella, like the breezy feeling of the music from Oppoq aka of the Uzbek singer Asilbek Amanulloh or like in the 1971 Hungarian film Szindbád of Zoltán Huszárik. In such situations, it would be better for the man to face what is going on with him, as the official stance of the mind is that everything is business as usually, like in the long human organizational history. In reality, there are some serious changes in the organization. Probably it would be better to contemplate more directly what is with this hedonism and see what to do with it, like in this Rumba hedonista of the Hungarian musician Arany Zoltán.

Overall, the issue in such situations is that the classical masculine organization does not feel entirely relevant, the woman has the impression of a better perception of real life and better resolution to face it, stemming from the success of working with a single “cinema seat” thread in facing overwhelming difficulties. This may give the impression that it can be applied in normal social life, without realizing how in this case the lack of difficulties turns the “cinema seat” immersion in real life in a plurality of threads, like the difference between Yar Ali Senden Medet and Habeit Ya Leil.

The women may slide in the impression that men have the prerogative of power and they are using it so poorly. She may have for a while an expectation period around the man, as women may do, but then she intervenes when she considers the situation is going nowhere with such clueless men. The deeper perceptions and resolution are very real, but the woman may fall under impression that they simply work automatically in normal social life (as she does not have practical experience of classical human social organization).

From this, if she has the impression that she has a better way to make things function in the social organization and she enters mentally in the ecosystem of meaning as a personal investment under impression of being in control of the situation, she may end up not reaching suspensions of belief in its coherence, necessary from time to time to work with it when relating it to real life. The investment in the meanings created in that ecosystem coupled with the awareness of the diachronic fluidity beyond it turns into defending all kind of tiny nuances that diverge diachronically from others. And, as I said, there is also lots of feminine experience around this issue accumulated in the long human history, as it appears everywhere in the world. In the Altaic case, some women sense the situation, others enter in a shortcut of an impression of knowing how to work with the human social structure.

To show a reverse situation, of men who don’t get the idea that there is more to it in the feminine psychology, let me give some Punjabi musical examples. The Punjabi ethos has some strong pre-Muslim Altaic influence (the Sikhi religion is imbued with it). The basic feminine development and imagination of an abyssal masculine power is like in Sardari of the Shah Sisters. This is the kind of expressivity that does not get (yet) entangled in an ecosystem of meaning.

Some Punjabi women apply it themselves, seeing how this would relate to real life while paying attention to stay focused on the fluid abyss and not become invested in an ecosystem. Men who notice this on the sideline and appreciate it may perceive it as something that simply works, the woman has some sort of mystery to make it work, like Saini Surinder in Tere Wali Jatti. A woman would sense that the man is missing the point, this psychological power does not simply work, as the man’s demeanor implies. There is something more to understand, like Guri feeling like walking alongside a tractor that moves by itself with no one at the driving wheel in Mashooq Fatte Chakni. This is a realization about some unexpected way to be immersed in that fluid psychology. Some women would need too to have some sort of realization around what keeps the classical human ecosystems going. It is a constant suspension of belief in their consistency and work with them from a position of control of the situation, like at the beginning of Kızdar-ay kızdar of Amangali or like in Ay-hay karaşların of Guzelem. They do not simply work, because structurally they are of very poor quality.

There are women who find in nature a prop for an organization of that huge diachronic psychological unfoldment and make the men think from that perspective. If they have the impression that this is revealing a deeper and much more mature psychology for the social organization and see it only as an opening of the mind of the man to that specific psychology, they are missing an important aspect. They are still under impression that the human social life simply works naturally and somehow the men are too obtuse to see the obvious more mature nuances. The missed aspect is that the human social life is not at all a given, but an ecosystem of meaning that is supported with power and a necessity from time to time to take your mind out of it and tweak it in contact with real life.

If the woman is under impression she has opened the mind of the man to the larger psychology and expects the man to simply function (because she may still continue to rely on him for organization and expect coherence from him), this puts the man under pressure to deliver coherence as usually to sustain the classical human ecosystem as a static synchronic fiction, while immersed in and thinking from the perspective of the larger fluid diachronic psychology. This creates men who themselves feel like losing control of the situation over tiniest diachronic divergent evolutions, with reactions to enforce a unitary self-centered ecosystem in the area they control. The woman is relying on nature as an organizational prop, while expecting the man to provide coherence as usually. In this case, the does not enter herself in a spiral of retorts, but the man himself becomes fragile.

The women need to pay attention when they still lean on men for providing coherence while under impression they have a better worldview they want to open the minds of the men to. There is something very valuable in that initial Altaic psychological discovery, but it needs further study around how it relates to normal social life. In the particular case of using nature as an organizational prop, some women sense there is more to it, some are under impression it is simply about showing how it is with that larger psychology while expecting the same continuation of coherence.

Some of the latter can continue to keep the control of the situation and enforce the functioning of the larger fluid psychology, like in Toñnuñ daa of Künney, but a point is missed there. In this case, it is a mixture of really being based on the authenticity of that diachronic psychology, but not really facing real life directly with it, the classical human organization is still expected to provide the framework for sustaining meaning in life.

It is something like the men I wrote about in the previous part, really based on the diachronic authenticity, but filtering it through classical human concepts of meaning. It is the same impression that paying due attention to the authentic diachronic psychology means due diligence and that’s it, while not really working with it in contact with real life. Only that, in the case of those men from the previous part, it is as though they live in a hot-air balloon that from time to time they let fly in all kind of unexpected directions. They still think in static terms and they are desperate to enforce a control of meaning on the ground relating to their simplistic static self-centered perspective.

A woman like in Toñnuñ daa has a man living in such a hot-air balloon and she has to make sure he readjusts to a new depth of orientation after some travels in unexpected directions. The man still may not get the overall gist with this context as the woman herself is relying for coherence on the classical static sense of meaning in life. In the first place, you need to realize that you need a new organization adequate to a psychology that can go in all kind of unexpected directions. The woman in this case still relies on the simplistic classical human organization and orientates her mind around that hot-air balloon as a self-centered bestower of overall meaning. There can be a larger organization around the huge landscape and, if it is the case of an aerial view, around the winds up there. It is not so much about going in unexpected direction with a narrow-minded worldview, but about assuming responsibilities around the deeper psychology.

Lots of men who live within classical human ecosystems of meaning and do not suspend the belief in it end up by themselves with spirals of retorts about all kind of tiny issues. This happens worldwide in some situations with some men. In the Altaic context this incidence can become increased from the cultural awareness of what is beyond the classical human ecosystem of “knowledge” (depending also a lot on the ideological and political environment). Not all the time it turns into spirals of retorts or it does not linger all the time in such spirals. A monotheistic-like desperation of Altaic dictators to have everyone regimented to the details of a specific ecosystem is achieved with the usual suspension of belief in the consistency of the ecosystem in order to shape it from an external gaze. However, the result of such suspension is not the usual taking for grated of the “reality” like in classical masculinity, but a very desperate enforcement of a control of meaning in the area under control. The practical result of enforcement can vary, the self-confidence of feeling in control of the situation can vary too. Some of these dictators and strongmen don’t give a damn about what is going on beyond the area they enforce absolute control (if it does not threaten them), others like the contemporary Erdoğan pursue any tiny slight against their self-image both at home and everywhere in the world.

The new abyssal power and its associated fluid thinking is so valuable in very difficult circumstances, but it turns out to not be so straightforwardly able to work with in the classical human ecosystem of meaning in simple normal life. Ultimately, it needs to be some deeper understanding of the situation, as it is about a deeper psychology, much more realistic and authentic. There is already experience accumulated around this perception that it is not enough to just apply it in classical human organization and in the next part I will continue with writing about that.

I should add here that you can also find among Altaic people the opposite of the situation mentioned before, namely men who are very down to Earth, with a mindset to notice and learn new things, with a direct immersion in a fluid psychology in contact with real life, with their own masculine responsibilities about this and a valuable creativity. Imanbek Maratuly Zeikenov, the recent musical star, can be a good example in this sense. Sometimes, there can be also a combination of these extremes or some swinging. The Turks in the Ottoman period were rather self-effacing as an ethnic group (to the point the work “Turk” was felt as rather shameful), with their leadership open to give even better uses to other people’s innovations and to manage a plurality of identities like in İstikrarlı Hayal Hakikattir. As the Ottoman organization grew stale, the new one developed by Atatürk swung them in the opposite direction, very fragile, self-centered and self-aggrandizing, obsessed with identity uniformity.

At the end of this part, I thought to give also some musical examples about growing up as a boy. Yoshsan of the Uzbek singer Janob Rasul shows how the mother inadvertently creates a self-image of the one who pays attention to the practical unfoldment of the situation and has an abyssal resolution in making things succeed, while the father appears too laid-back. In Ay-yay-yay of the aforementioned Guzelem and Salavat Minnikhanov, the father appears initially as expressing himself that abyssal power as an abstract concept in general, but it all dissipates when the mother comes home and notices practical tasks lagging behind and unleashes a much more disruptive abyssal expression of power around these issues.

The way the initial discussion with the father is interspersed with sequences with the mother and wife coming home is a good example about how a man gets some idea after a while when such an explosion of abyssal relating with real life is about to come. He has some vague impression that something is about to come, but not clear what. The women’s faces do not appear in those initial sequences.

In this case, the son grew some understanding around his father’s expression of power, he does not find it so scary anymore. He is still disrupted the same as his father by the mother’s expression, but he has some accumulated experience around how it is not really targeting well issues in normal social life. It can be good as basic impulse to strive and as a start in this fluid psychology, but it is not really like this how things can be done efficiently when working with human ecosystems of meaning.

Hence he makes that gesture with the hand towards his father when they go out, in the idea of noticing what disruptive abyssal effects the mother’s expressivity can have, while re-establishing some normality in their minds and having some understanding for the situation. At least his mother (as she can be seen in other videos too) does not appear as a woman too invested in an ecosystem of meaning, she is more about the practical expression of that Altaic insight in relation to the raw reality and she is not so prone to spirals of retorts about all kinds of tiny issues.

The mother herself can have in some contexts a relevant public presence that feels like facing the diachronic unknown, like the Crimean Tatar singer Elzara Batalova with her son Girey Batalov in the intepretation of Kele Baar. This means that she is not just on the sideline with the impression of knowing how to do things better, while watching the men clumsily deal with real life in a linear, narrow-minded manner, like a progressive development of a spider web in their minds.

This is about some further work with the diachronic psychology to see how the initial Altaic psychological discovery of a struggle through overwhelming difficulties with a vibe like in Kazagım-ay of the Kazakh band Gaukhartas can relate to the plurality of “cinema seat” threads in normal social life. It also matters if the woman realizes how much work is still necessary and thus to not fall under impression she found the solution after some successful public presence in normal social life.

If she enters in a static mental plateau of feeling in control of the situation, this can turn into spirals of retorts or, if she realizes herself the complexity, it can make her shy. I notice how some Altaic women have periods of psychological retreat and study of a situation in the latter circumstances, it may look like a responsible shyness. The Turkish singer Şirin Üstün in this interpretation of Ali Nur has the vibe of having been gone through such periods that grew this relevant public presence, while the younger girls are more like in such an ongoing situation of facing a huge complexity.

→ The mindset of the populations of Siberian origin (part 13)