Spock Feels Deeply

The whole proposition of the Vulcans (Star Trek), concerns the idea that they had at some point as a society decided that feelings and emotions were the things that caused violence and social disasters of most kinds - and so they eliminated them.

Consequently we see the character and story arcs of all the Vulcans, fundamentally based on the idea of the emotionless, and objective, personality trait being the pivotal counterpoint to the humans in the scenes, and also to other types of Aliens who were regularly also in the episodes.

We start here...
Look at the sky...

And yet somehow, it is the very objective nature of the perceptions of highly intelligent characters such as Spock, that sees him able to raise the values of relationships to the highest peaks, and his material mortality - much like that of Obi-Wan in Star Wars - becomes a very poignant tableau scene that will persist throughout the future stories in the canon.

What makes the intelligent objective viewpoint matter - when it comes to deep emotional subjects?

Well because the intelligence seems to be able to transcend the sheer finality (or so it would otherwise be) of death.

In well-known popular mainstream stories, the literary devices commonly used are usually the one about 'dreams,' and then also the idea of some unseen but nonetheless felt, spiritual presence (to use the typical phrasing for these things).

Caesar lost many books, the most notorious occasion being the supposed time that he burned down the Great Library of Alexandria to create a major diversion in order to personally escape virtually certain capture and death.

We have not seen any true 'Caesar' since the time of actual Caesar although there were many pretenders - inclusive of Augustus who I call a pretender although the standard Western historical narrative of the ruling elites say that he was a great man...

We go to here...

The cyclical nature of human life and its reality of friction and loss with some rare triumphs, does not have a true Caesar repeating.

Not to my reckoning.

Yet on the smaller, the individual personal scale, we all have had our 'burning of Alexandria' moments.

I am endeavoring to reach to an idea about the depth of poignancy (deep sense of sadness and regret) of life and the overwhelming sadness of its ultimate personal conclusion (of an individual's death) when confronted by the consciousness, being in some ineffable way though still clung to as a 'truth' by the hopeful mind, and the cause of a kind of immortality. 

Atheists believe this kind of thing.

That is to say they believe in the extreme bathos as a 'sad beautiful thing' that is 'rich to the consciousness.'

This is such rubbish, but it is what people are left with when their minds are delusional albeit they have insisted that they are being 'real' and realistic and objective and self-honest and 'knowing of the truth.'

If you really saw a cyclical kind of example of a true 'Caesar' or a true 'Marilyn Monroe' or a true and returned 'Enoch seventh from Adam' (lol), then your emotions would indeed overwhelm but not because of utter abject sadness of actual loss; rather, of the shock of the truth of actual gain and the reverse of loss!

We stop and focus here.

I said true Caesar/Monroe/Enoch and whoever else you can think of. 

Not imitation. 

True.

When Chris Martin speaks of how he wrote this song - which is in a rhapsody format (IE a short segment of an epic, designed to be recited and/or sung in such a way in order to induce an ecstatic expression of feeling) - he is quite self-effacing and humble about it and it seems, just as Socrates had said of the poet Ion of Ephesus, that he has no idea of the extreme consistency of the poetry and of the ideas entailed, with a real set of past events and a whole entire and very specific artistic historical context.

He just is inspired by, as it were, some Muse or Muses, who are doing all the directing.

And yet here is a very good example of a cyclical phase of a specific subject of art - namely, the stars above in the night-sky.

The number of coincidences to do with Chris Martin and the art in question and its original creator, bespeaks this whole idea of cyclical fields in action.

If you are Spock, or T-Pol at heart (and in soul) then this video clip will give you a certain reaction...

You see Spock is not dead. You think he was just a fictional character but he became alive from that anyway, and now he is not dead at all.

It will take you a while to think around the point that Kirk actually eventually did go into space, and if we don't all kill ourselves and the human race lasts another five hundred years then no one then will care that Kirk was 'not actually real initially ' as such because to them they will only be looking at the whole concluded picture and not as we do now, the experienced linearity as it goes along.

So you see what I'm saying is that some deep expressions of feeling inevitably turn into objective material realities that resonate with those original pure human mind creations.

Just because I like technology.
And reflections of light and color in 
photographs.

Now you don't know that kind of thing as a fact, unless you experience it and it is an existential reality to you.

What we are doing to you here is drawing you along, though in highly systematic and technically-structured ways, into having things happen.

Kirk did go into space. For real.

And you will attain to things that you never really thought were possible or scientifically factual possibilities. There is a 'you' that lives in the future; how experienced reality simply folds back on itself from out of future time is a mystery to us today...