#modern psychology

[durvakshh]

It's crazy how everyone conceals their tears. Weeping is not an sign of frailty, nor is the act of concealing it. How effortlessly do we simply wipe our tears away and wear a smile to make it easier for whoever walks into the room. One moment, it was hard to draw breath, and the next moment, we're conversing in the best possible tone we can, and most of the time, we succeed. We succeed in concealing our vulnerability not out of the fear of exposing it but due to the fact that we simply require some solitary time. I wonder whether all those moments of solitude are molding our levels of empathy towards others or towards ourselves, or perhaps both.

[as-rethinking-norms]

The Silent Suffering of Our Time: A Stark Look at Mental Health Stigma

In an age where the world openly battles with a plethora of crises, one particularly nefarious struggle simmers beneath the surface, eluding the widespread attention it so desperately requires. It’s the silent suffering endured by countless individuals grappling with severe mental illness, trauma, PTSD, and an array of psychological afflictions. It’s ironic, really. We inhabit a society that…

[livingwellnessblog]

Yoga-Based Counseling: Integrating Ancient Wisdom and Modern Psychology

Multiple studies advocate for the integration of yoga into psychotherapy. While yoga practices such as asanas, pranayama, and mind-body relaxation have already been incorporated into conventional counseling, there is a need for a structured application of

Yoga-Based Counseling: Integrating Ancient Wisdom and Modern Psychology Based on a research study: Conceptual framework for yoga-based counseling: A systematic review of literature Introduction: Yoga, renowned for its therapeutic benefits in physical, mental, and spiritual well-being, has gained recognition as a powerful tool for counseling. While the practical aspects of yoga such as asana,…

[ramsei501st]

in honor of laika coming back from the dead to release a new movie, a kubo of mine with some questionable summer fashion. im love he

inspired by @/kittarts' coraline art ;o;/

[jeyranmain]

(via Equanimity: Finding Strength, Serenity, and Contentment, where Neuropsychology Meets Ancient Wisdom Kindle Edition by John Elliott-White (Book Review #1462))

[stljedi]

Psychological Warfare

[artmindlens]

The Son of Man by René Magritte (1964)

The Psychology of Transgression and Guilt Magritte’s The Son of Man immediately captivates with its two central symbols: the apple and the figure’s formal attire. The apple, suspended in front of the man’s face, evokes not only the biblical narrative of Eden but also the Oedipal Complex, where transgression against the father’s law leads to guilt. In the biblical tale, Adam consumes the forbidden fruit offered by Eve, symbolizing the birth of self-awareness, shame, and the burden of guilt. In this painting, the man’s face is concealed behind the apple, echoing the unresolved guilt from that original transgression.

From a psychoanalytic perspective, the apple mirrors the child’s desire for the mother and the violation of paternal boundaries, evoking the tension between desire and punishment. Before consuming the apple, Adam was unaware of his nakedness, just as the child, before transgressing paternal laws, is innocent of their own desires. Magritte’s man, in contrast, is fully dressed—his body covered by a formal suit, suggesting an overcompensation for that earlier transgression. His attire, like the suit of a corporate leader, represents conformity to societal rules and the defensive structures built to contain one’s hidden impulses.

However, it’s the apple that holds the deepest psychological weight. By hiding the man’s face—his core of identity and expression—it creates a psychological tension between the desire to be seen and the fear of being exposed. For a leader or executive, this speaks to the unconscious burden carried beneath the polished exterior, where the drive for success is continually shaped by the fear of transgression and the guilt of overstepping social or professional boundaries.

The Suit as a Symbol of Conformity and Defense The man’s formal attire serves as more than just a uniform of professionalism—it becomes a psychological defense. The suit, much like the hat perched atop his head, symbolizes social status and conformity, a way to signal adherence to the expectations of society, much like corporate leaders navigate the demands of shareholders, regulatory bodies, and industry norms. Yet, behind this polished exterior, the apple remains—a reminder that no matter how much we align ourselves with social structures, the hidden burden of guilt and the desire to transgress still linger beneath the surface.

Leaders who resonate with this painting might feel an unconscious connection to this duality of identity. On one hand, they must project a facade of control, success, and conformity. On the other, they may grapple with the weight of unresolved guilt from past decisions or actions—choices that, like the apple, remain hidden from public view but deeply influence their sense of self.

Transgression, Authority, and the Pursuit of Power The Oedipal Complex present in this work also extends into the realms of power and authority. The apple, symbolizing forbidden desire, creates a tension with the suit, a marker of societal success and control. For those drawn to this painting, it may evoke a subconscious acknowledgment of the transgressive impulses that often drive ambition—the desire to challenge authority and push past boundaries, while simultaneously seeking approval from the very structures they seek to defy.

For executives or professionals who might display this work, The Son of Man serves as a psychological mirror, reflecting the internal struggles faced in their journey toward leadership. The fear of exposure, the guilt of transgression, and the need for external validation all intertwine within the image. It reminds us that no matter how elevated one becomes in status or authority, the unconscious drive to rebel and the weight of guilt are never fully erased.

The Apple as the Unconscious Burden of Guilt At its core, the apple not only hides the man’s face but represents the guilt of wanting more—more power, more success, more control. In leadership, this often translates into a continuous striving for achievement while carrying the fear of overstepping boundaries. The man’s face, hidden yet central, reminds us that in the pursuit of success, there is always a part of the self that remains concealed—driven by past transgressions and the desire to surpass societal limitations.

For those drawn to this painting, it could signal an unconscious recognition of the cost of ambition—that the pursuit of power, while necessary, also comes with a burden of guilt and the need to reconcile one’s hidden desires with public expectations.

[kafkasapartment]

Silver Moon, 1927. Oscar Bluemner. Watercolor and pencil on paper mounted on board.

[divine-nonchalance]

Remember. by Slonaut, Belgium, 2024

slonaut.com

[musingsinmiddleearth]

Some thoughts I had while I contemplated the behavioural traits of Fëanor:

I am not fond in many ways of the pathologising of traits that modern psychiatry has pursued. There’s a lot in the psychology of Fëanor that is relatable to me (and surely to others). I have been sat down and explained to how seldom were the hands and minds of [Fëanor/myself] at rest was a source for concern to my educators. That to have been of this nature is to be in some way deficient, because that nature would not be accommodated, and so a correction or a conformation was required.

I think the language around the description of a person's nature needs to be more respectful, and I think the Silmarillion is an excellent job of it. I find it more humanising to say that the fires of [Fëanor’s] heart grew too hot and [he was] in the pursuit of all his purposes eager and steadfast. Certainly more humanising than “signs of fixation and poor impulse management indicative of ADHD” which you could consider to be the exact same meaning in a certain light.

It was just interesting to me that the language of the Silmarillion described traits like this as being simply and intrinsically a part of the person’s nature (as is the truth) and sought not to change them, acknowledging when these traits were both a service and a disservice, and making no claim that these traits were evidence of some growing pathology in societal context. The Silmarillion respects Fëanor as being Fëanor and it is a kind of neutrality that I think is woefully absent from our world today.

I may of course be reading too much into it, but it got me thinking.

[fenrichaita]

Sometimes I wonder if people understand that you cannot make people stop comparing mentally ill and neurodivergent people to like serial killers and horror movie monsters without abandoning most of how we conceptualize and categorize mental illness. It's not like an ableism that comes from outside of the DSM or ICD from laymen, it's entirely baked in. The entire mental health system is about categorizing mentally ill and ND people as threats, liabilities, and inconveniences, while blaming it on intrinsic brain illnesses based on the ideas of typically incredibly biased and bigoted psychologists from several decades ago which are not founded in evidence (and said ideas persist mostly unchanged with the reasonings merely altered or justified with a shrug). The fact that after every mass shooting there is more posturing of "mental health awareness" and increasing MH services, when most mass shootings are committed by radicalized cis (and usually white) men tells you that a lot of this is security theatre. The MH system really just makes it more unsafe to seek medical help but it helps "neurotypical" people feel better, and it is the comfort of "NTs" that is most prioritized by this system. And of course, anyone who commits acts of extreme violence like mass shootings will likely be labeled mentally ill first (rather than radicalized, exc.) because of the circular logic that no one can be a Threat without being mentally ill. Do you see The Problem?

[nickolashx]

Resident Evil 7: Biohazard (2017)

Resident Evil 7: Biohazard is a 2017 survival horror game developed and published by Capcom.

Fear and isolation seep through the walls of an abandoned southern farmhouse. "7" marks a new beginning for survival horror with the “Isolated View” of the visceral new first-person perspective.

[theprodigypenguin]

Modern AU

Dragon: It's a bit of a drive, do you think you three can behave?

Luffy: Only if we can stop at McDonald's.

Dragon: Fine. Ace?

Ace: I don't care.

Dragon: Fine. Sabo?

Sabo: Can I have the AUX?

Dragon: I don't know what that is.

Sabo: No worries. I found this awesome song the other night, I'm gonna put it on repeat the whole drive!

Sabo: *puts on caramelldansen*

Dragon:

[crimeronan]

pretty much everyone positions modern AU philip wittebane as a hyperconservative westboro baptist style cult leader for obvious reasons, which i think he 100% could be, like. that's not a stretch.

HOWEVER.

in my heart of hearts. if you REALLY want to preserve the Horror that is belos and How He Is in the canon....

....then. modern AU philip wittebane is a christian psychologist.

[eleanore-delphinium]

The Voices: Bullies

@jiafei-my-beloved & @djbunnie gave me the bullying idea. Thanks btw!

Then I just borrowed existing kids that are plaguing me. You might see this AU, been working on it for a while.

~.~.~.~.~.~.~

Damian frowned as he stared at his two young children. His daughter had messy hair and his son had scratches. Both their uniforms were disheveled. 

“What happened?” He asked with arms crossed.

The sun had already set and so they stood in a dark hall in their big cold mansion. The children had even come home later than they should have. Which made his wife anxious.

“They called mother crazy.” His daughter carefully confessed.

Damian’s hand flinched and he pressed his lips.

“They pushed her, so I fought back.” His son added.

Damian inhaled sharply, “I will deal with this.”

He studied his six-year-old twins. They were rather mature for their ages, a result of the circumstance of their environment. 

“Your mother–”

“Damian?” Raven’s voice cut him off from finishing his sentence. 

He turned to look at his wife who wore a white long sleeved, floor length silk nightgown. The neckline was low but it was quite conservative. A clothing choice she wore in consideration of their children.

Her eyes flickered at the sight of her young children. 

She was shaking, “What happened?” 

Damian’s lips parted but his daughter cut him off, “We were having too much fun, mother.”

“I tripped.” The son added.

Damian looked at his children, his pensive expression hidden from his wife.

He sighed, “Why don’t you let your mother put some ointment on those wounds son?” He gently urged.

The son nodded and walked to his mother, reaching for her hand. 

Raven quietly accepted his hand and his excuse.

“Why don’t you two sleep with us tonight?” Damian smiled warmly.

Raven looked delighted with the suggestion. Her and her children nodded with smiles on their faces.

Damian approached his wife and cupped her face, “Why don’t you all settle down first while I make a call to their school?”

He patted his children’s head. 

“I will deal with this. You don’t have to worry about anything, beloved.” He kissed her temple. 

She pressed her lips and replied “Alright.”

~.~.~.~.~.~

Raven settled the kids on the bed. She patted her son’s hair while his sister slept on his other side, eyes closed but facing Raven.

She watched them sleep peacefully.

“What really happened?” Her son stirred awake after hearing his mother whisper softly. 

He heard the inaudible whispers that came after, making him open his eyes.

A red figure with white hair almost pressed his lips against his mother’s ear as he told her something he couldn’t make out.

He felt his twin sister’s hand squeeze his hand that she was already holding. He knew his sister was awake and could hear them too. But she kept up with the appearance of being asleep.

They both knew their mother was not crazy. After all, they see them too.

Raven’s son pressed his lips, behind the red figure was another one by the wall, looking at him with a smile and an index finger pressed on it’s lips. 

They all look the same. But they knew there were a lot of them. And one of them was bigger than the rest. 

Their mother called him Trigon.

And he was the one by the wall.

He squeezed his sister’s hand back.  FIN.