Fateweaving, a practise to regain existential agency: A first outline
-Constantin Hansen
Prometheus, the spirit of forethought, shapes man from clay. Epimetheus, his brother embodying hindsight, is tasked with granting each creature its essence, yet forgets to bestow one upon man. In response, Athena breathes psyche into him, a word that in ancient Greek means both “breath” and “butterfly.” Thus, the essence of man becomes the living spirit itself: ever-changing, unfolding through endless metamorphosis.
The prophecy
No one: “Can you re-member the prophecy?”
Someone: “Which one?”
No one: ”The one you are about to write.”
Someone: “But how can I weave that which I do not believe?”
No one: “You need the following artefacts: The fibers of your past, a spindle, an arrow and a bow.
By using the spindle, you can unite the fibers of your past into a string. Use that to pull the opposite poles of your bow into tension.
Then propelled by the tension between longing and faith, destiny and fate,
your arrow will hit into the heart of the unknown. The echo of its impact shall guide your way through the web.”
1. What is Fateweaving?
Fateweaving weaves together fate and destiny. Fate is the realm of objective determinism; destiny is the realm of subjective becoming. Fate in “Fateweaving” is the passive part that attracts destiny. Weaving in “Fateweaving” is the active part so that we can become destined to our fate.
It is the attempt of synthesising the things that happen to us and the things we can make happen. When the synthesis is successful, we can move towards the future while getting pulled in by it at the same time, instead of just being doomed to our fate or crushed by the weight of our destiny.
Fateweaving is a psychotechnology of creative expression through which we can co-create our future in relationship with the world.
By reciprocally opening to the narrative, relational, and imaginal dimensions of reality we can remember the story of our lives, instead of following a script dictated by the unconscious or by our culture. Through the creation of a personal myth we can take ownership of our worldviews, and thus of how we relate to the world.
Fateweaving works by entering into a dynamic relationship with our personal story. The dynamism is marked by a constant flux of deconstructing and constructing, deciding and opening up, disidentifying and identifying with story.
By using the tension in our stories as an existential propellant, we can launch our being into a widening possibility space out of which the future can arise organically.
The story acts as a mirror that reflects our relationship to the world, as a lens through which we see it, and as a playground to embody what we envisioned through our imagination. By creating a myth out of our past, living and interacting through that myth in the present and inviting the future through the imaginal, we can turn our story into a prophecy: written in the past, relevant in the present, and about to happen in the future. The imaginal here is not about make-believe or building illusionary fantasy worlds, but about enacting transformation -creating an imago, a mirror-image of the self in becoming.
A magical poem is not a description of magic; it is the spell. Likewise, fateweaving is not a theory about meaning, but a practice that enacts it.
For prophecy to work, we must embody our story and embed it in the world. This happens by embodying key moments through consciously designing rituals.
To repeat for better understanding:
A story acts as a binding element between self and the world, both can cocreate a story, which can be the ground for meaning to arise.
The fateweaving process encodes our story into myth making it accessible to us. Perceiving the world through that myth makes one susceptible to relevant patterns, because one perceives the world through a distillate of oneself.
Inviting the future into the myth through the imaginal widens the myth into a prophecy. Consciously ritualizing the prophecy allows us to embody and embed story in the relationship between one and the world.
Thus, fateweaving acts as a mirror, a lens, and a ritual playground for our lives.
Fateweaving graphed (I see the irony of using a cartesian graph to depict a concept that is fundamental non cartesian)
Since we never arrive in the future, the fateweaving process unfolds cyclically or more precisely, in a spiraling motion. I believe multiple cycles can unfold simultaneously, including one’s whole life, adulthood, and the current phase. This could be represented as smaller spirals winding around the one depicted in the graph.
The spiral moves towards an increasing disclosure with reality.
John Vervaeke speaks of love as mutually accelerating disclosure. Fateweaving therefore aims also to fall in love with the world again.
Art creates more world and more ways of seeing the world at the same time, through that process the subject and the object start to mirror themselves increasingly until they completely merge –that's the point when a story has come full circle.
The Greeks used to call this process anagoge: When self and world reciprocally open towards each other, striving towards unity.
Under this light a definition of Fateweaving could be: Reciprocally opening towards reality through creating art.
The high points in the fateweaving cycle occur when we merge completely with the story: moments of Kairos, the feeling that our personal destiny aligns with the fate of the world.
But the story can also sleep when everyday life settles back in. These phases are to solidify the story by integrating it with everyday life through practice and service.
The cycle resembles the hero’s journey, but with fateweaving we gain a method to consciously summon, navigate and connect multiple hero's journeys.
The groundwork of the story can point to an inevitable future.
Like a seed that contains the tree it will become, our backstory already holds the shape of our fate and destiny. Fateweaving shines light on the seed of our story and pulls it upwards the spiral towards the light of time.
2. The meaning crisis
Confusion
Things are fused that should be apart,
things are apart of which I should be part.
My life still is a line and that way to straight,
when a story should be my fate.
Ethereal grasping but my fingers slip,
a spell almost but never leaving my lips.
The mind in panic, claws on to thin air,
kills the dream and births a nightmare:
Dead matter trapped in the vast spaces between body and mind.
Where can I recover that which I couldn't find?
Where is the bomb and where is the fuse,
to burst open the cage of my muse?
In his early years in a military campaign, Descartes had a dream in which an angel appeared and told him that: “The conquest of nature is to be achieved through number and measure”.
Later he developed substance dualism, which would become one more steppingstone in the history of philosophical development, that would make it increasingly difficult for us to conceive of an interaction between mind and matter. They were now conceived as two distinct substances, separating fact from value, meaning from truth, self from world, religion from science, mind from body.
The way we talk and frame our reality shapes the way we live in it. Our cultural grammar today is soaked with dichotomies -dualisms, that block us from framing a reality in a holistic way in which we can come into contact with ourselves, each other and the cosmos.
Philosopher John Vervaeke calls our cultural condition the meaning crisis. It names the sense of disconnection, insignificance, and purposelessness that so many feel in the (post)modern world. This is a complex phenomenon, interwoven, recursive, and systemic.
This whole section is heavily influenced by his thinking. I highly recommend watching or reading his Youtube series “Awakening from the meaning crisis” or his book with the same name.
What follows is not a comprehensive map, it is a way of situating fateweaving in relation to the crisis and showing how it can help us step into a living relationship with meaning again.
How a story can help us to realize meaning:
The goal of this paragraph is to work out what meaning is and why we can’t realize it with our cultural framing of reality. To realize: To become aware of something and make it real at the same time.
To address that, we need what Vervaeke calls a return to contact epistemologies.
Contact epistemology is the art of knowing through participation, of discovering truth not by standing apart from the world, but by coming into contact with it.
Fateweaving could act as such: A story could provide the ground for organic meaning realization through anchoring meaning in the dynamic relationship of self and the world and not search it within either the subjective- or objective realm but what Vervaeke coined the “transjective”.
To illustrate we will return to the myth of prometheus, epimetheus and athene.
In our cultural grammar we are trapped between idealism and materialism.
When pursuing idealism, truth is being sought after in the subjective realm, in materialism it is sought after in the objective realm.
We might be drawn towards one of those philosophical viewpoints but they both act as the shadow of the other one. One framing implicitly includes the other even though they seem to explicitly exclude one another.
Because the objective truth materialism searches for is never reachable, overcompensating for that realization, the subjective search for truth covering up its impotence must become a totalizing world shaping force.
Because subjective truth remains ever relative, the search for objective truth will be cloaked in hybris, because the subject searching for objectivity tries to cover up the fact that it is only a subject.
Both framings block us from being able to get into contact with reality.
Because we are autopoietic systems, the mechanisms that make us adaptive also make us prone to self-deception. In broad strokes one could say that two stubborn realities gave birth to materialism and idealism as human adaptations to reality:
Chaos, the unpredictability of life, symbolized in myth as dragons. Lurking at the edge of the kingdom, always ready to annihilate our story.
And Inertia, the resistance of the world symbolized as lead. The tendency, that our story stagnates, and the cosmos feels lifeless.
For sake of argument I want to link facing chaos to the development of materialism: the sword of humanity, the drive to predict, control, and technologize.
And coping with inertia with the development of idealism: the romantic turn inward, insisting that the mind can animate the dead world.
I think the Greek myth of Prometheus and Epimetheus captures this tension. Prometheus -forethough- embodies the materialistic impulse in us: the drive to predict, control, and shape the world through reason and craft. Epimetheus -hindsight- could embody the idealistic impulse: to look backward and ascribe meaning after the fact, to romanticize and interpret, but between them, something essential was forgotten.
When Epimetheus distributed essences to all living beings, he neglected to give one to man. So Athena breathed psyche, which again means both “breath” and “butterfly”, into him.
So meaning arises not from forethought or hindsight alone, but from the living wisdom of transformation, the meeting point of matter and mind in ongoing change. It is through this metamorphic contact with the world that life becomes meaningful, not through control or reflection but through participation in becoming.
In myth, meaning is symbolized as gold. To find it we must face the dragon or try to convert it from lead.
Athena’s breath symbolises that very act of inspiriting something with meaning by allowing it to engange in transformation.
For now we are stuck with materialism telling us the world is only inanimate matter, and with idealism telling us the mind alone gives structure to reality.
The burden of meaning-making falls entirely on our isolated selves, while still being unable to connect to something else alive than our own. I feel like at the moment we are feeling both like a cog in a machine and like a lonely tyrant trapped in a hall of mirrors.
Postmodern relativism sharpened the fracture. If everything is “relative” in an objective sense, then no truth claims can stand, or all can, depending on who speaks.
The fracture we feel in the world of ideas -the noosphere- influences our social sphere and our infrastructure. For many, life in the 21. century feels like wandering through crowded cities, while loneliness trails them; with neither gods above nor stable ground below.
A story offers another path. A story always binds self and world in a plot between a character and a setting.
It does not reduce reality to object or subject but weaves them into relation. Fateweaving is the art of grounding meaning not in unreachable objectivity or fragile subjectivity, but in this living relation. In a story, coherence, significance, and purpose can arise organically, even though it obviously is a challenge.
Oftentimes the whole story arc is about finding meaning:
About finding a place where one belongs, where one's actions, identity and relationships fit together -to find connection and become coherent.
About honing one's grace so that one can contribute to the unfolding of the story- to become significant.
About knowing where to go, having a plot that is actually meaningful to engage in- to find one's purpose.
By living a story the question of what the meaning of life is, often posed in a nihilistic or hybristic way, becomes obsolete.
Because the meaning of life can be found in the meaning in life. The meaning that a story carries is the meaning of that story!
How a story can provide the ground for the good, the true and the beautiful
In today's Zeitgeist we lost a shared sense of what Truth is and what true is. A quick scroll through the news shows that we stopped caring about what is true. Instead, political and cultural actors try to tell the most compulsive narrative so that people join their cause for “the good”.
This gives rise to bullshiting, to the de-beautification of the world.
People who bullshit aim to maximize their systems for their own sake. Out of a longing to feel connected to something bigger they try to become bigger, because they confuse themselves for the world, they think their story is the story. They misjudge their feelings of Kairos with the reality of their Kairos.
This could be a trap when entering a dynamic relationship to one's own story and identifying with it. It would result in pursuing what feels relevant, but not what is true. If the transfer of insight from the profound world manifests itself as something useful and beautiful in the profane world, then truth and relevance go hand in hand. That’s why fateweaving needs to be embodied and grounded in the world.
Fateweaving with its transjective approach aims for a collapse of the dichotomies of being, but there are two ways where to go from here:
The narcissistic way is to dissolve every boundary so that one sees nothing but oneself. The way of the sage is to unite the opposites by putting them into right relation.
But what is the difference between a narrative and a story?
Both act like magic spells, they manifest themselves in the world by influencing the noosphere. But the aim of one is to control being out of fear, the other is to collaborate with being out of love.
It’s the difference between dark and light magic:
Light magic could be defined as the science of love collaborating with the evolution of nature, dark magic as the science of power by parasitizing nature.
One could argue that dark magic and fear are necessary building blocks of reality and that most good stories carry them.
Ian McGilchrist frames the way the two brain hemispheres approach the world as the left grasping for control and the right trying to see the holistic interplay of things. Both are legitimate ways of relating to the world but they must find themselves in their right place. Ian Mcgilchrist describes the right brain as the master and the left as the emissary. Likewise one could frame narrative thinking and living through story: living a story as the predominant way of life wherein narrative is a tool. I want to conclude with something that arose out of a workshop a friend recently gave: “Love needs the potentiality of fear to know itself.”
So to write stories instead of narratives one must know what's real, to understand how the opposites are related.
What is real, is of course relative, but that does not mean there can’t be truth. It means that truth is relative to something, or that relations are the primary substrate of reality.
We access the realm of the relative through symbols. Our relations to the world are encoded in art, dreams, ritual, and imagination. Symbols can change their meaning, because they are relative to a changing world.
By learning to decode these symbols, we uncover truths about our relationship to the world, by encoding our relations into symbols one can write new stories that in return influence the world.
The primary objective of fateweaving is to realize a beautiful life story. A story can act as an arena in which we recover the beautiful, the good, and the true. By living within a beautiful story, one can ground their ethics in relationship to beauty, and from that grounded ethic establish truth. Is it true? It is, if it is good. Is it good? It is, if it is beautiful.
Reclaiming rationality from the claws of moloch
I see Moloch as a demonic entity or a principle that shapes the world and its minds in a linear, mechanistic, dualistic, reductionistic way.
It is the consuming, industrial, dehumanizing power of modernity. It acts according to an ultimate logic and all the participants within it act rationally when following that logic, but collectively this leads to a nightmare.
Modern rationality could be defined as: having reasons to pursue goals, and pursuing them effectively and efficiently. But this narrows reality into linear chains of cause and effect, event A leads to event B, subject here, object out there.
This creates the perfect frame for developing a parasitic relation towards the world: the world is something to be extracted from, rather than participated with.
Instead let’s give Rationality back its ancient meaning:
Coming from Ratio -meaning proportion, it aims to know one's place in the cosmic order and to live in right relation to it.
For our purposes we can say: Rationality is knowing how to play the right part in the story of life.
If we learn to live rationally within the cosmos again, we would cease being drones, endlessly outcompeting one another for the machine’s recognition and instead become individuals uncovering our unique gifts. Transformation could arise through the co-creation of story in our memetic, social, and physical ecosystems, rather than through consuming narratives crafted by ideological and corporate interests.
Recruited as unwilling soldiers in narrative warfare, we are caught between propaganda machines; but by crafting and inhabiting our own stories, in dialogue with others, our ecosystems, and the symbols that shape our lives, we can reclaim authorship of our worldviews.
In this way, we might learn to collaborate as individuals, burying our dreams like seeds and humbly waiting for a garden to blossom.
Magic: How ritual and myth can enchant the world again
In stories there is often a sense of the supernatural, a good or evil force that helps or hinders the protagonists to navigate the chaotic and brutal realities of their life.
In our modern worldview, however, these forces are either dismissed as superstition or reduced to romantic bullshit.
Both framings miss the point, for neither allows us to truly come into contact with the supernatural. The enlightenment disregarded the supernatural and claimed that the natural is the only realm that exists because it is explainable according to utilitaristic reason -Reason aimed at utility.
They were right in that the supernatural is, by definition, unexplainable, but that is not a flaw, it is a feature.
When we interact with the unexplainable, it opens up the possibility to a different mode of relating, one that widens possible ways of seeing and interacting with the world rather than boxing the world into narrow categories. It opens up what Erik Fromm called the being mode in contrast to the having mode. An example would be the difference of being in a relationship with a partner, rather than having a partner. Interacting with the unexplainable encourages us to navigate life by curious exploration, instead of grasping exploitation.
It is already stated in a previous chapter but because of its significance we shall repeat it:
Light magic is the science of love collaborating with the evolution of nature.
Dark magic is the science of power by parasitizing nature.
Rationality, in its ancient sense, is knowing how to practice light magic -to play the right part in the unfolding story of the cosmos. The degree to which one lives rationally would be the degree to which one aligns with light or dark magic.
Magic works by projecting inner agency outward, so that one does not know how the change occurred. It is a play of identity. To give an example: quitting smoking is a task that demands tremendous willpower and is, for most, likely to fail. But if someone is invited to step into a relationship with a higher power -through a lived story, one their whole being can understand- they can overcome the addiction, they project their own missing agency outward and accomplish the task without coming into conflict with themselves. It’s a subtle yet powerful sidestep, and footwork, after all, is an essential skill in the endless game of hide-and-seek that life plays with itself.
In magic, only the effects are visible, and it feels effortless precisely because the active part remains hidden. This is not to explain magic away. When one truly comprehends magic as a play of identity, life itself becomes mysterious and magical in the truest sense of the word -beyond belief.
It is sometimes said that magic only works if you believe in it. I would say the opposite: magic works best when you do not believe in it. It does not function through the force of will or by adopting a fixed lense, but by allowing your cosmos to act and to surprise you.
Storytelling and mythmaking are magical in that they hand the pen to life and invite it to write the story with you. This active deed of not-knowing, of disidentifying with the illusion of the separate self while simultaneously identifying with the Other, is not only the birthplace of true creativity but also what protects us from falling into spiritual rabbit holes.
By living a story, the story becomes myth and through enacted transformation in the realm of the imaginal, lived myth becomes prophecy. The difference between poetry and prophecy is that there is a call to action in the ladder.
The lifeless “out there world” can thus be reenchanted by the animating spirit of the story as co-creating life with life. Now that is magical.
This is also the heart of fateweaving: to recover a sense of enchantment that is neither superstition nor delusion, but a participatory way of living where mystery is not erased but engaged. Fateweaving invites us into a relationship with symbols, synchronicities, and stories as living presences.
4. How to weave
How to become a story
You have to wait and walk around,
you have to lose touch and see your wound.
From past towards the sky,
you have to wonder and ask why:
Why do these feet have to wander this path?
Why does future flow from past?
Why can't it be the other way around,
from the sky towards the ground?
You might think direction is a must,
for the seedful soil is full of lust.
You think things grow towards the light,
but from above nothing comes but plight.
I'm asking you to reconsider,
for your eyes might be just a mirror.
Which flips things on its head,
making things seem deep when they are flat.
What if the force of time applies from everywhere,
so that meaning can't be found just here nor there.
Pulling and pushing, from towards to back and forth,
In the realm of story there is but one north, one guiding question:
Is it true, could it be?
-That you're not only you but also just a tree?
A tree that is getting pulled upwards by the light of time,
waiting for the sound of its leaves begin to rhyme.
And when you start to ask the wind if all the rhymes are true,
you realize that wind, leaves, sky and ground have always been just you.
So let your life be a story,
turn your fate into a quarry.
Mining for the answers, digging for the truth,
to realize once again eternal youth.
Seeking directionality is insanity.
Making your path visible is impossible.
You have to real- not analyse it: Is it true?
-It is, when you feel and finally become you.
“Love is to see, art is to make visible, and life is struggling to keep our eyes open. Fateweaving will open your eyes.”
Fateweaving is a deeply personal process. Once understood, it becomes an art of expressing your relationship with the world through any medium that resonates. By looking through your art into the world, you begin to perceive patterns that feel personally relevant -opening new possibilities for interaction to ground what feels relevant into what can be true. As you revisit this process again and again, your story shapes reality, and reality shapes your story, forming an ascending spiral of insight, creativity, and new ways of being with the world.
The following guide uses writing as its medium. It serves as inspiration, not prescription. You are encouraged to deviate as much as you feel called to. There is no holy order to follow, discovering how to weave is part of fateweaving itself.
Speak with friends about your experience of becoming a story. Bring it into the world. This practice is about entering a dynamic relationship with reality to realize what is meaningful, not following a protocol to achieve a personal development goal.
Taxonomy
Personal Myth: The symbolic backstory of your life.
Pattern: A way you relate to the world; how you experience and behave in certain situations. It includes who, what, when, where, and why.
Symbol: An artistic representation of a pattern in a form accessible to you.
Prophecy: A poetic call to action.
Beginning the Process
There may already be something present, a tension in your life that longs to be expressed through art. Or perhaps you need inspiration.
Inspiration can come from many sources: encounters with fascinating people, new ideas, romantic projections, psychedelics, travel, meditation, or dreams. Let yourself be informed by your past, your environment, your experience, and your behavior. The richer the information, the greater the potential for transformation.
Try not to search for purely objective or purely subjective patterns, but for transjective ones.
Ask yourself: What are the relationships between me and the world? Where do they come from, and where do they lead?
Where does life write the story, and what do I feel called to write?
Remember: a tennis player can’t win a game without playing on a court. ;)
The examples in the following outline are made up and written in first person perspective to allow for better identification. It serves as illustration and does not reflect the nuance and complexity that emerge from the process.
Becoming Aware of the Backstory
Encode past patterns into symbols and create a myth
Recall a pattern from your past. What is the first memory that comes to mind? If nothing arises, move around your space -pay attention to smells, textures, sounds. Does something evoke a memory? Once you find one that feels relevant to your current stage of life, look for similar memories to identify a recurring pattern.
Now, encode that pattern into a symbol. If this feels difficult, give the pattern a title, draw a pictogram that fits the title, and describe the pictogram in fantastical language. Repeat this until a few symbols have been established. Perhaps you’ve already done this through your art. Collect your symbols into a shared space where they can begin to interact. Then, write a new piece that reflects and informs your current view of the world.
Example:
While walking through my old hometown, I pass my school and am flooded with memories of the relationships I had there. I recall similar dynamics in more recent years and trace a pattern between these memories. I encode this pattern as a spiderweb, as entanglement in relationships that devour rather than nurture.
Later, a walk through a misty forest brings up memories of childhood warmth and safety. I take a bit of moss home and place it on the kitchen table.
The interplay between these symbols -web and moss- reveals a tension between the fear of connection and the joy of connection.
I write a short origin story: a boy trapped in a spider’s web, drifting into visions of lush forests and children's laughter. Then a strong gust of wind frees him from the web but having gone mad he runs into the forest losing his way.
Hearing the Call
See through your myth and drop into the possibility space of the present
Your myth now offers a lens through which the world can be seen. You may start noticing certain patterns more often, as your salience landscape tunes itself to your myth. Journal about these patterns and the symbols you encounter; weave them back into your myth.
If you struggle to notice such patterns, it may be because they’ve become transparent, something you’re looking through rather than at. Mindfulness can help make your lens visible again.
Example:
After a day of climbing, I feel deep gratitude for my partners, a sense of kinship that is shadowed by dread, knowing the coming week will be filled with lifeless university routine. This fits the mythic tension between connection and entrapment. On my walk home, I see two spiderwebs: one broken, one intact and glistening. The first feels hopeless; the second evokes awe and fear. The symbol of the spiderweb gains a new dimension, it can hold both life and decay. I write: In the forest the boy discovers little funny creatures who worship the stars. But recently a darkness grew across the sky, so they weave webs as trampolines with the goal to leap beyond the firmament.
Heeding the Call
Make a decision fueled by the tension in your myth.
Your myth is a seed for your larger story. Can you imagine the tree it might become? At times, identification with your story may grow intense, this is the perfect moment to disidentify, to hand the pen over to life.
In the hero’s journey, this is the moment of crossing the threshold, leaving the known for the unknown. The tension within your story becomes the propellant that grants courage.
Don’t worry: all doors eventually lead to the underworld.
Example:
Feeling trapped in sterile university life, I’m invited to a social gathering that lies far outside my comfort zone. I think one last time of my myth, and open myself up to drop into the possibility space, despite all good reasons not to.
Entering the Underworld
Invite the future through prophecy writing
You can remember the past and observe the present, but you can only imagine the future, so you must turn to the imaginal, the dark space where light resides.
Access it through active imagination, dreams, psychedelics, stream-of-consciousness writing, intuitive drawing, isolation, or play. The aim is to collect potent symbols and decode what they mean and invite them into your myth, extending its reach into the future.
Example:
After struggling to open up at the party, I sit alone in a dark corner trying to hide my frustration. Closing my eyes, I see a clear vision of a sword. Startled, I leave.
Back home, I continue the story: the boy receives a sword from the forest creatures and with newfound clarity, he jumps on one of their trampolines to leap through the firmament. There he meets a giant spider of shadow and strikes the cross on its back with his blade. From the wound burst a million stars, forming a glistening interconnected web, the earth is just one among many knots in the web.
Facing the Dragon / Transmuting Gold from Lead
Ritualize the prophecy by embodying your story and embedding it in the world
This stage is intuitive; its design depends on your myth. Objects and beings can serve as projection surfaces for your symbols. Ask: How does my environment reflect my prophecy?
Rituals can be spontaneous or planned, but they must carry intentionality. Enter into play, assume and assign identities that mirror your myth. The ritual can influence, change, or complete the prophecy.
Example:
Called to explore the vision of the sword I join a historical fencing club to master the art of sword fighting. With the courage I cultivate in the practice, I invite others to a writing workshop. Through that I begin to bring depth and connection into my sterile university life.
Returning to the Profane World
Sharing the gifts, repeating the cycle
What stories did this process give birth to? How can you embody them? How have you and your world changed in relation to one another? Use these changes to enter the process anew.
5. Complementary and Balancing Practices (To be completed)
There are many other valuable practises that could complement and balance the mythological ways of enganging with reality needed in Fateweaving.
Mindfulness:
-Pairing practices of looking through your awareness and looking at your awareness.
-Paring practices of disidentifying with the contents of your experience and identifying with the witness of your experience.
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Relating practises:
-Friendships
-Romances
-Circling
-Aspecting
-Authentic relating
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Helpful attitudes:
-Radical scepticism and radical openmindedness stacked against each other: Nothing is worth selling your soul for, everything could be worth losing ones soul to
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Movement practises:
-Becoming better at navigating stories by embodying finesse through moving gracefully
-There is so much
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Resilience practises:
-Working
-Mountaineering
-Martial Arts
-Strong determination sitting meditation
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Techniques to invite unconscious material into consciousness:
-Active imagination
-Dreamjournaling
-Theatre
-Romantic projections
-Psychedelics
-Nature immersion
-Dialog
