Life can be viewed as one big joke made up of a series of jokes. The material of the Universe being Joke or Joca.
Nothing or what is like Nothing is excluded from this. It is not made of Joca or anything, but makes Joca.
Joca has many dimensions but it means both trick and something which causes one to react by viewing the strangeness or error or silliness involved.
The mystic sound was not Om, the sound of one who a Joke is being played on, thus the sound attributed to the whole buzzing of the Universe, but rather Ha, an exhale of air or spirit, of exertion.
Hahahahaha.
Each moment or experience can said to be a Ha. It isn't one long Ha but a Ha as in laughter which has another Ha and any Ha of the Has can be taken individually and in place of another Ha though they are all Has. Hahahaha which is the word or spirit sent forth, stemming or as part of a joke or the overall joke.
It not being very funny makes it all the more funny, and if we were to really get it, we may never cease laughing, which is to be God or Death.
muse mushy. Sh*t that was my attempt to type we mushy sh*t why does it keep changing musn't to mushy? Oh, could it be because it is a Joke? Well it Can!
Now one who sees with smiling eyes is both happy and unhappy, because we aren't serious, we aren't a big deal, we are just jokes made of jokes in a joke sayings jokes doing jokes and being jokes because jokes and joke is all there is.
If you can look at anything at all and see the humor, and see that even without words it is funny, that even a simple accepted thing is funny for its acceptance or its position or appearance, your heart may be filled with a certain energy, because this thing gives you the pleasure of having a sense of humor or senselessly finding no sense but humor.
One who thinks jokes are not serious or meaningful or are very or only serious or meaningful are being made fools. There are no others but fools.
There is not anything which is not foolish, the sun is a fool, the old man is a fool for sure, and the Power is just plain sadistic and mean, but then again, what else can it do but make Joca?
Can it Not Make Joca? Wouldn't that be funny too?
Wow I shouldn't look at this little Buddhist statue I have, it looked almost like it was moving because of my eyes refocusing. See?
Enlightenment is Lightening Up.
I am never wrong, never.
Bring me a platter of seriousness and watch me sh*t on it.
We forget and then eat our own sh*t. Worse if we remember and do it, or some propaganda saus now it is alright to do that. Why is that worse? Well I find out I made the propaganda too.
What then is the first Joke?
The First Joke was Be or Being.
I Am is the beginning and the whole of the first joke, it makes no sense. You are? You are what? A humorist no doubt. Finish your f*cking sentence!
There is nothing you say which isn't sick or funny. Same goes for the Lord from which all Joca or Humor stems seen and unseen acknowledged and unacknowledged. Crying isn't much different from laughing. A Palestinian half roasted body of a child flying from an explosion apparently has its charm but is an acquired taste.
Now to study these words I have mentioned.
[hr]
http://etymonline.com/index.php?allowed_in_frame=0&search=Joke
https://en.m.wikipedia.org/wiki/The_Fool_(Tarot_card)
https://en.m.wikipedia.org/wiki/Jest
https://en.m.wikipedia.org/wiki/Trickster
https://en.m.wikipedia.org/wiki/Humour
[hr]
https://en.m.wikipedia.org/wiki/Laughter
https://en.m.wikipedia.org/wiki/Muqatta%CA%BFat
http://www.ancient-hebrew.org/m/alphabet_letters_hey.html
https://en.m.wikipedia.org/wiki/He_(letter)
http://www.walkingkabbalah.com/hebrew-alphabet-letter-meanings/
" Hei Meaning – 5th Letter of the Hebrew AlphabetHei represents divine revelation, the breath of the Creator (Psalm 33:6 – By the word of the LORD the heavens were made, and by the breath of his mouth all their host.) The world was created with the utterance of the Hei. It represents the gift of life and creates the verb of being (היה Haya – being). It is divinity, the spiritual life that comes about through the first four letters. It represents the life essence in all creation. It symbolizes the effortlessness of the world and is the symbol of divinity, gentility, and specificity. It contains within it the freedom of choice. Hei is one of the letters of the Holy Name, giving it a special significance within the Aleph-beith. "
[hr]
" The letter Ε(Epsilon), by Code, expresses the sense of Motion-Movement-Course-Expansion and it’s easy to comprehend it, if we consider that when we call somebody from afar, we use it, (Hey… you! Hey Alex…). So, when phonetically using Ε… and sometimes, along with a tense of our hands towards someone, shows the effort of our existence to expand and communicate with the person that is away."
[hr]
https://m.youtube.com/watch?v=VICVEz4p-N8
[hr]
https://m.youtube.com/watch?v=4-aZAaV-2xI
[hr]
https://m.youtube.com/watch?v=Zo5Y5cG_BxE
https://m.youtube.com/watch?v=P2lkXzmcMHg
[hr]
https://m.youtube.com/watch?v=_Ouna_YnQCM
[hr]
https://m.youtube.com/watch?v=2dKtoXURLdo
[hr]
https://m.youtube.com/watch?v=q5V-I5Wy334
[hr]
https://m.youtube.com/watch?v=kbPbCoRztI4
https://m.youtube.com/watch?v=IfmXD90VWsg
https://m.youtube.com/watch?v=_CQr32oSgoU
https://m.youtube.com/watch?v=VLMF5GM0Kt8
[hr]
https://m.youtube.com/watch?v=FQNmu1Q9NzA
[hr]
https://m.youtube.com/watch?v=fXRzQp7CPnY
[hr]
https://m.youtube.com/watch?v=pwaHTuU35As
https://m.youtube.com/watch?v=loTcZHoIYfQ
https://m.youtube.com/watch?v=do5NTPLMqXQ
https://m.youtube.com/watch?v=c71RCAyLS1M
[hr]
https://m.youtube.com/watch?v=2ffxUT7Puf0
https://m.youtube.com/watch?v=jvc7fd3ejqo
[hr]
https://m.youtube.com/watch?v=fkG4oIPT7tU
https://m.youtube.com/watch?v=6hbzyK1xGys
[hr]
Honestly, sometimes I even forget this stuff is divine revelation or I think or assume I am just finding stuff and posting it or whatever or it just phases out assome project of mine somehow which I spent hours at and I get a frightening reminder that this whole thing was the theme I was supposed to write on absolutely and a specific message.
I went out to this crazy badly placed stack of books and I wanted one book that was under many but in the process of even considering it ended up pulling out some other called the Pan Opera Book. Opened it up randomly and it said something about how all the players seem to laugh with the orchestra and then opened another page and it said some famous quote or something The Vocation of Man is to Jest. Then I shut the book, and I thought oh I should find the page, then I opened the book and there was a bookmark receipt thing, then I didn't know where it was but it whispered in my head kind of that it, like always, will be easily found even though I don't know where at all it is, and It opened it and found that same laughter thing and then saw the other quote which was seperated by pages and placed the bookmark receipt thing there but was humorously filled with awe and dread as always by the frightening reminder that this stuff about jokes was today's mission.
The Madman Isane: Humor or Jokes as Cosmology. Joke or Joca
Moderator: atreestump
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kFoyauextlH
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kFoyauextlH
- Posts: 777
- Joined: Sun Jun 15, 2025 3:53 pm
Re: The Madman Isane: Humor or Jokes as Cosmology. Joke or Joca
https://en.m.wikipedia.org/wiki/Alastor ... f_Solitude
"
Alastor, or The Spirit of Solitude is a poem by Percy Bysshe Shelley, written from 10 September to 14 December in 1815 in Bishopsgate, near Windsor Great Park and first published in 1816. The poem was without a title when Shelley passed it along to his contemporary and friend Thomas Love Peacock. The poem is 720 lines long. It is considered to be one of the first of Shelley's major poems.
Peacock suggested the name Alastor, which comes from Roman mythology. Peacock has defined Alastor as "evil genius". The name does not refer to the hero or Poet of the poem, however, but instead to the spirit who divinely animates the Poet's imagination.
In Alastor the speaker ostensibly recounts the life of a Poet who zealously pursues the most obscure part of nature in search of "strange truths in undiscovered lands", journeying to the Caucasus Mountains ("the ethereal cliffs of Caucasus"), Persia, "Arabie", Cashmire, and "the wild Carmanian waste". The Poet rejects an "Arab maiden" in his search for an idealised embodiment of a woman. As the Poet wanders one night, he dreams of a "veiled maid". This veiled vision brings with her an intimation of the supernatural world that lies beyond nature. This dream vision serves as a mediator between the natural and supernatural domains by being both spirit and an element of human love. As the Poet attempts to unite with the spirit, night's blackness swallows the vision and severs his dreamy link to the supernatural.
Once touched by the maddening hand of the supernatural, the Poet restlessly searches for a reconciliation with his lost vision. Though his imagination craves a reunion with the infinite, it too is ultimately anchored to the perceptions of the natural world.
Ruminating on thoughts of death as the possible next step beyond dream to the supernatural world he tasted, the Poet notices a small boat ("little shallop") floating down a nearby river. Passively, he sits in the boat furiously being driven down the river by a smooth wave. Deeper and deeper into the very source of the natural world he rushes. Like the water's surface supports the boat, the supernatural world "cradles" the mutability both of nature and of man.
As his senses are literally dulled, his imagination helps him sense the spirit's supernatural presence. Instead of perceiving the vision through the senses, the Poet imaginatively observes her in the dying images of the passing objects of nature. The boat flows onward to an "immeasurable void" and the Poet finds himself ready to sink into the supernatural world and break through the threshold into death.
When the Poet reaches the "obscurest chasm," his last sight is of the moon. As that image fades from the Poet's mind, he has finally attained transcendence to the supernatural world. The journey to the very source of nature led, finally, to an immanence within nature's very structure and to a world free of decay and change.
The poem was attacked by contemporary critics for its "obscurity". In a review in The Monthly Review for April 1816, the critic wrote: "We must candidly own that these poems are beyond our comprehension; and we did not obtain a clue to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste." In the Eclectic Review for October 1816, Josiah Condor wrote:
We fear that not even this commentary [Shelley's Preface], will enable ordinary readers to decipher the import of the greater part of Mr. Shelley's allegory. All is wild and specious, intangible and incoherent as a dream. We should be utterly at a loss to convey any distinct idea of the plan or purpose of the poem.
In The British Critic for May 1816, the reviewer dismissed the work as "the madness of a poetic mind."
Mary Shelley, in her note on the work, wrote: "None of Shelley's poems is more characteristic than this." In the spring of 1815, Shelley had been erroneously diagnosed as suffering from consumption. Shelley suffered from spasms and there were abscesses in his lungs. He made a full recovery but the shock of imminent death is reflected in the work. Mary Shelley noted that the work "was the outpouring of his own emotions, embodied in the purest form he could conceive, painted in the ideal hues which his brilliant imagination inspired, and softened by the recent anticipation of death."
In his biography of John Keats, Sidney Colvin wrote on the influence of Alastor on Keats' Endymion: "It is certain that Keats read and was impressed by Alastor."
Alastor influenced the poetry of William Butler Yeats, whose own work The Wanderings of Oisin was influenced by the Shelley poem.
"
"
Another is Robert Southey, whom Shelley had much admired and whose Thalaba the Destroyer, a favourite poem of Shelley's, prefigures Alastor in imagery and quest-narrative. Shelley sent a copy of the book to Southey.
Similarities in imagery to Samuel Taylor Coleridge's Kubla Khan have been noted but Shelley is unlikely to have read that poem, still unpublished at the time of Alastor's composition. The similarities might be explained by those between Thalaba and Kubla Khan, each of which was partly composed while Southey and Coleridge were in close contact.
"
https://en.m.wikipedia.org/wiki/Thalaba_the_Destroyer
https://en.m.wikipedia.org/wiki/Kubla_Khan
https://rpo.library.utoronto.ca/content ... t-solitude
https://www.gutenberg.org/files/39804/39804-h/39804-h
https://www.poetryfoundation.org/poems/43991/kubla-khan
https://kublakhancompleted.in/
https://forgottenrealms.fandom.com/wiki/Far_Realm
"
The Far Realm was a plane of madness situated very far from the planes of the standard cosmology.[4] This maddening realm was feared for its power to twist unfortunate visitors into gruesome monsters, and it was from here that aberrations came.[5] According to Malyanna, a servant of the Abolethic Sovereignty, all cosmologies were threatened by the same Far Realm.[6]
"
https://forgottenrealms.fandom.com/wiki ... overeignty
"
The main goal of the Abolethic Sovereignty was to unlock the Far Manifold with the Key of Stars and open the gate to the Far Realm to unleash their masters onto the world.[2] They were also greatly interested in the Spellplague, and searched and studied active plaguelands across Faerûn.[3] They also wanted to control the power of the primordial Maegera the Inferno, and created the dreaded Symphony of Madness to that end. The aboleths kidnapped many living creatures for their ambitious experiments to improve the Symphony of Madness.[4]
Xxiphu was a mobile city, and that allowed the Abolethic Sovereignty to operate throughout all Faerûn.[3] However, they focused their efforts on the region of Sea of Fallen Stars near Akanûl,[5] and in the Underdark below Neverwinter.[3] They also held total control over the city of Olleth.[6]
"
https://forgottenrealms.fandom.com/wiki ... of_Madness
"
The Symphony was created by the Choir, a group of plaguechanged creatures that sang a telepathic tune that could be heard at any point between Neverwinter, Helm's Hold, and Gauntlgrym. The song was powered by the Spellplague energies the aboleths harnessed from the Cauldron of Blue Fire. Therefore, those creatures chosen to be part of the Choir were subjected to a series of increasingly traumatic tests to determine their aptitude to "sing" in the Choir, and eventually were warped by the Spellplague energies into something unrecognizable.[1]
The song of the Choir was, in essence, a beam of focused Spellplague energy that could twist stone or flesh depending on subtle variations in the Choir's harmony, warping reality in ways that made sense only to an aberrant mind. By using the Hex Locus, the Sovereignty could enhance the Symphony's range, to reach places far away from the normal range of the Symphony.[2]
Those who "heard" the Symphony would suffer horrible nightmares. The only way to avoid having nightmares within the Symphony's range was to sleep near a dreamthief doll. Excessive exposure to the Symphony could turn creatures into spellscarred or even into plaguechanged beings. If focused against a creature or group of creatures, the Symphony could corrupt and twist the mind of the targets, turning them into thralls of the Sovereignty, puppets whose only purpose was to serve their masters to the best of their abilities, or even turn the most unfortunate targets into foulspawn if the corruption went too far.[1]
"
https://forgottenrealms.fandom.com/wiki/Spellscar
Added in 14 hours 42 minutes 35 seconds:
Wtf, this unknown nobody is illustrating huge books with so many pages of full quality art regularly, this is totally insane, like they are on some kind of stimulant or something.
"Artyz" like "Artis".
The guy supposedly has such low self esteem and a low opinion of his art, so spends days filling books with stuff he supposedly doesn't like? Hahaha.
I'm the opposite, and have amounted to just as much without expending even a fraction of the energy they must have.
They said they listened to this a lot:
The word "Murder" gets associated with "Art" a lot, also in the recent Baldur's Gate 3 game's character Orin The Red.
"
@PricelessDamnationV2
1 year ago
If I had a nickel for every time Maggie Robertson voiced a character who said she'd cut someone to ribbons I'd have two nickels, which isn't a lot but it's weird that it happened twice.
"
"
Alastor, or The Spirit of Solitude is a poem by Percy Bysshe Shelley, written from 10 September to 14 December in 1815 in Bishopsgate, near Windsor Great Park and first published in 1816. The poem was without a title when Shelley passed it along to his contemporary and friend Thomas Love Peacock. The poem is 720 lines long. It is considered to be one of the first of Shelley's major poems.
Peacock suggested the name Alastor, which comes from Roman mythology. Peacock has defined Alastor as "evil genius". The name does not refer to the hero or Poet of the poem, however, but instead to the spirit who divinely animates the Poet's imagination.
In Alastor the speaker ostensibly recounts the life of a Poet who zealously pursues the most obscure part of nature in search of "strange truths in undiscovered lands", journeying to the Caucasus Mountains ("the ethereal cliffs of Caucasus"), Persia, "Arabie", Cashmire, and "the wild Carmanian waste". The Poet rejects an "Arab maiden" in his search for an idealised embodiment of a woman. As the Poet wanders one night, he dreams of a "veiled maid". This veiled vision brings with her an intimation of the supernatural world that lies beyond nature. This dream vision serves as a mediator between the natural and supernatural domains by being both spirit and an element of human love. As the Poet attempts to unite with the spirit, night's blackness swallows the vision and severs his dreamy link to the supernatural.
Once touched by the maddening hand of the supernatural, the Poet restlessly searches for a reconciliation with his lost vision. Though his imagination craves a reunion with the infinite, it too is ultimately anchored to the perceptions of the natural world.
Ruminating on thoughts of death as the possible next step beyond dream to the supernatural world he tasted, the Poet notices a small boat ("little shallop") floating down a nearby river. Passively, he sits in the boat furiously being driven down the river by a smooth wave. Deeper and deeper into the very source of the natural world he rushes. Like the water's surface supports the boat, the supernatural world "cradles" the mutability both of nature and of man.
As his senses are literally dulled, his imagination helps him sense the spirit's supernatural presence. Instead of perceiving the vision through the senses, the Poet imaginatively observes her in the dying images of the passing objects of nature. The boat flows onward to an "immeasurable void" and the Poet finds himself ready to sink into the supernatural world and break through the threshold into death.
When the Poet reaches the "obscurest chasm," his last sight is of the moon. As that image fades from the Poet's mind, he has finally attained transcendence to the supernatural world. The journey to the very source of nature led, finally, to an immanence within nature's very structure and to a world free of decay and change.
The poem was attacked by contemporary critics for its "obscurity". In a review in The Monthly Review for April 1816, the critic wrote: "We must candidly own that these poems are beyond our comprehension; and we did not obtain a clue to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste." In the Eclectic Review for October 1816, Josiah Condor wrote:
We fear that not even this commentary [Shelley's Preface], will enable ordinary readers to decipher the import of the greater part of Mr. Shelley's allegory. All is wild and specious, intangible and incoherent as a dream. We should be utterly at a loss to convey any distinct idea of the plan or purpose of the poem.
In The British Critic for May 1816, the reviewer dismissed the work as "the madness of a poetic mind."
Mary Shelley, in her note on the work, wrote: "None of Shelley's poems is more characteristic than this." In the spring of 1815, Shelley had been erroneously diagnosed as suffering from consumption. Shelley suffered from spasms and there were abscesses in his lungs. He made a full recovery but the shock of imminent death is reflected in the work. Mary Shelley noted that the work "was the outpouring of his own emotions, embodied in the purest form he could conceive, painted in the ideal hues which his brilliant imagination inspired, and softened by the recent anticipation of death."
In his biography of John Keats, Sidney Colvin wrote on the influence of Alastor on Keats' Endymion: "It is certain that Keats read and was impressed by Alastor."
Alastor influenced the poetry of William Butler Yeats, whose own work The Wanderings of Oisin was influenced by the Shelley poem.
"
"
Another is Robert Southey, whom Shelley had much admired and whose Thalaba the Destroyer, a favourite poem of Shelley's, prefigures Alastor in imagery and quest-narrative. Shelley sent a copy of the book to Southey.
Similarities in imagery to Samuel Taylor Coleridge's Kubla Khan have been noted but Shelley is unlikely to have read that poem, still unpublished at the time of Alastor's composition. The similarities might be explained by those between Thalaba and Kubla Khan, each of which was partly composed while Southey and Coleridge were in close contact.
"
https://en.m.wikipedia.org/wiki/Thalaba_the_Destroyer
https://en.m.wikipedia.org/wiki/Kubla_Khan
https://rpo.library.utoronto.ca/content ... t-solitude
https://www.gutenberg.org/files/39804/39804-h/39804-h
https://www.poetryfoundation.org/poems/43991/kubla-khan
https://kublakhancompleted.in/
https://forgottenrealms.fandom.com/wiki/Far_Realm
"
The Far Realm was a plane of madness situated very far from the planes of the standard cosmology.[4] This maddening realm was feared for its power to twist unfortunate visitors into gruesome monsters, and it was from here that aberrations came.[5] According to Malyanna, a servant of the Abolethic Sovereignty, all cosmologies were threatened by the same Far Realm.[6]
"
https://forgottenrealms.fandom.com/wiki ... overeignty
"
The main goal of the Abolethic Sovereignty was to unlock the Far Manifold with the Key of Stars and open the gate to the Far Realm to unleash their masters onto the world.[2] They were also greatly interested in the Spellplague, and searched and studied active plaguelands across Faerûn.[3] They also wanted to control the power of the primordial Maegera the Inferno, and created the dreaded Symphony of Madness to that end. The aboleths kidnapped many living creatures for their ambitious experiments to improve the Symphony of Madness.[4]
Xxiphu was a mobile city, and that allowed the Abolethic Sovereignty to operate throughout all Faerûn.[3] However, they focused their efforts on the region of Sea of Fallen Stars near Akanûl,[5] and in the Underdark below Neverwinter.[3] They also held total control over the city of Olleth.[6]
"
https://forgottenrealms.fandom.com/wiki ... of_Madness
"
The Symphony was created by the Choir, a group of plaguechanged creatures that sang a telepathic tune that could be heard at any point between Neverwinter, Helm's Hold, and Gauntlgrym. The song was powered by the Spellplague energies the aboleths harnessed from the Cauldron of Blue Fire. Therefore, those creatures chosen to be part of the Choir were subjected to a series of increasingly traumatic tests to determine their aptitude to "sing" in the Choir, and eventually were warped by the Spellplague energies into something unrecognizable.[1]
The song of the Choir was, in essence, a beam of focused Spellplague energy that could twist stone or flesh depending on subtle variations in the Choir's harmony, warping reality in ways that made sense only to an aberrant mind. By using the Hex Locus, the Sovereignty could enhance the Symphony's range, to reach places far away from the normal range of the Symphony.[2]
Those who "heard" the Symphony would suffer horrible nightmares. The only way to avoid having nightmares within the Symphony's range was to sleep near a dreamthief doll. Excessive exposure to the Symphony could turn creatures into spellscarred or even into plaguechanged beings. If focused against a creature or group of creatures, the Symphony could corrupt and twist the mind of the targets, turning them into thralls of the Sovereignty, puppets whose only purpose was to serve their masters to the best of their abilities, or even turn the most unfortunate targets into foulspawn if the corruption went too far.[1]
"
https://forgottenrealms.fandom.com/wiki/Spellscar
Added in 14 hours 42 minutes 35 seconds:
Wtf, this unknown nobody is illustrating huge books with so many pages of full quality art regularly, this is totally insane, like they are on some kind of stimulant or something.
"Artyz" like "Artis".
The guy supposedly has such low self esteem and a low opinion of his art, so spends days filling books with stuff he supposedly doesn't like? Hahaha.
I'm the opposite, and have amounted to just as much without expending even a fraction of the energy they must have.
They said they listened to this a lot:
The word "Murder" gets associated with "Art" a lot, also in the recent Baldur's Gate 3 game's character Orin The Red.
"
@PricelessDamnationV2
1 year ago
If I had a nickel for every time Maggie Robertson voiced a character who said she'd cut someone to ribbons I'd have two nickels, which isn't a lot but it's weird that it happened twice.
"