Energetic Lysism - a Dissolvent - Decomposer - Distinguisher - Analyser - Differentiator - Converter - Transformer - Transfigurer of everything  into everything (omnia in omnibus). Lysism is from the Greek lysis , i.e. "dissolution"

 The aim of the logical chain of Energetic Lysism is to show it simultaneously as a universal dissolvent (decomposer) and a universal transformer of everything into everything. Being a universal transformer, it is also a universal synthesizer (equivalenter-equalizer of everything).

It is universal analysis,  but  it  is universal synthesis, too.

Energetic Lysism is like the universal decomposer - universal analyser - universal distinguisher of everything from everything: it distinguishes everything from everything, as well as the thing from the thing itself. Energetic Lysism is a constant universal need of every thing to be different from itself, but being the thing different from itself means, by definition, including the other one. And it will be able to include (contain) in itself the other one only if its nature implies its ability to convert everything into everything, therefore Energetic Lysism can be a universal differentiator - distinguisher only if it is a universal  transformer - converter of  everything   into  everything.

Materius Rosenkroyzer (Timen Timev), being a writer and researcher, has already tried to prove the connection between Energetic Lysism and Contextualism (his modern theory of literature and text in general). Its publication in Western literary and schloarly circles is forthcoming and it is on the way of becoming the basis of future literary discussions on language, text and the cogito (thinking).

In my art of drawing - that of Prince Papa Jan, Energetic Lysism is a philosophical concept embodied compositionally in the specific technique of crating paintings: turning a point into a line, a line into a surface, a surface into volume, volume into multidimensional space (the multidimensional non-Euclidean geometry). Multidimensional space by definition, when gathered into a dimensionless point, is the construction of abstractionism. Gathering all genera of concreteness into a dimension-less point, we get abstractionism. Decomposing any  abstract   image,  we get  all genera of concreteness.

Therefore, Energetic Lysism presents the genealogy of abstractionism as a universal receptacle of all possible, present and future, drawing styles and techniques. That is why Energetic Lysism can only be shown in the All-World gallery, and vice versa, only Energetic Lysism can build the All-World gallery: since it would not be

 the style of all styles

 if, by means of its universal dissolubility method, it did not destroy every thing in itself in the thing's own structure so that, through that destruction-deconstruction of the thing, it might show the thing's relationship to any other thing. That is, Energetic Lysism proves that every destruction is new construction. We ourselves have been amazed to realize that Energetic Lysism pointed at the universal relationship of a life: of pictures and of books, and of the Papa Jean All-World gallery - Jeanoism as a universal world-view. In my attempt to live, I, Papa Jean, turned my life into a book. In my attempt to read it, I painted it. In my attempt to view it as a picture, I withdrew far enough for it to appear as a thought.

Jeanoism - Energetic Lysism, and when you go out of the World-Called-itself, then you turn back and see everything gathered into an All-World gallery where the world painted by me  is closed, but only out of it I amd present as a spirit and unthinkability. That is why he who has succeeded in painting everything and building up an All-World gallery is doomed to remain outside unpainted. Like God, who creates the world has to stay out of it. Here  is  the  eternal  refrain  of  all  philosophic  religions:

God  was  Nature,

God was Soul,

God  was  Language,

He  is  inestimable,

God is the unthought thinking one.

The   unspoken  speaking   one,

The   unfelt   feeling   one.

The spiritual life of  being,

And   the  material  life  of  having.

If you want an argument, here it is: "Could he who created the apple tree appear himself as a tree in  the Universe?"

Certainly not.

Vainly does Wittgenstein relate and summarise all transcendental   philosophies:

"The meaning of the world has to stay outside the world." Since he who has created the tree, in case he appears as a tree himself, will in his turn need a Creator and a Maker, and in order to break the endless Creator-Creation logical circle, we have to mould an impassable abyss between the two. "The Creator is forbidden to    appear as a creation."

We could judge of the Creator by the Creation but in it we do not see the Creator himself.

For a gallery to be an all-world one, not only should all facts in  it appear as  pictures,  but each  picture  should  contain all  other pictures as its elements: a similar mental event occured to Leibniz and brought about the creation of monadology - the only hypothesis of the past which did not need a new genius (as Newton needed Einstein) to start modern natural science in the world of all possible worlds in quantum mechanics to the semantics of all possible semantics in modern logic and linguistics, in the general code of knowledge where sciences and arts gather as an algorithmic step towards the creation of any future metaphysical theory defined by Materius Rosenkreuzer as OMNISEMANTICISM; that Omnisemanticism was interpreted by me, Papa Jean, in my activity as an artist and writer, as a form of another activity distributing the same enchantment  -  Energetic  Lysism.

Over the years, I gradually realized that Energetic Lysism as dissolution of everything into everything is possible only if an orderly science and logic have proved the intertransparency and relationship between things: in other words, everything would not be connected into everything (the omnisemantic modification of Leibniz introduced by Materius Rosenkreuzer) had they not been previously interdissoluble, which is demonstrated by the new technique  of  Energetic  Lysism created by me.

Thus, all the old alchemy notions not been proved then by the modern transpontation of particles which has made evident the deduction of an element from any other one? Just as gold can be obtained from any chemical element nowdays, all other categories can be deduced from any notion, and in any drawn image all the rest can be read: my chief motive and inspiration of representing the world as an All-World gallery - what Borges imagined years ago as the All-World Cosmic Library where any book could give information of all the others. As a spontaneous artist, I, Jean, through combining meditation and erudition, started constructing my pictures so that even if all my pictures burnt up, it would be possible for them to be restored out of one picture only. The greatness of this method of intertransparency and interpenetration of facts one for another has its confirmation in the presence in different epochs of the same logic of interdissolubility aiming at the compensation of the shortcomings of secular monosemantic formal logic recommended, and comically prided on, by each century. Those who lack erudition could be reminded of Leibniz's basic concept of 'the world of all possible worlds'. The so-called 'real world' is to Leibniz just one of the possible worlds that can be built out of the initial monads, and the real world is actually 'the Sum of all possible worlds' that can be constructed out of the combination between the monads, hence, it is not our macroscopic world, just one of the possible worlds, that is the real one; what is real is the continuum of all possible worlds achieved through the combination of all possible   semantics.

Example:   thus   the   idea  of   a  picture  can   be  depicted   in  a variety   of   ways,   and   those  various   ways   of   painting   a   picture, Eidos, have been ascribed to various geniuses by the naive centuries.

Those sceptical genius had no idea that what they called their own art was their different interpretation of the same subject; the Great different self-interpretative quality of the picture to depict itself, thus deceiving mankind that it is created by various genii. Just as a picture carries in itself all other pictures, so is the language a continuum of texts where each text carries in itself all other texts about it. But only the Sole Divine and Divinely Inspired carries everything in itself.

The All-World gallery is the modern depiction of Leibniz's monadology: just as in one monad all the rest are depicted, so are all other things reflected as unpainted in one picture of the All-World gallery  since  they can  only  be reflected  as unpainted  ones.

A monad is the spiritual atom interacting wilh all other atoms in the Universe not via a causal connection but from a distance, 'per distantionem', like a telepathic interaction: "The stochastic method of nonlocalily which has served as a basis of all quantum mechanics and the modern view of the structure of the Universe, as nonparticularism (the modern view of the Universe as a  nonspacial  extratemporal  energetic  being).

Since the difference between things as facts and things as images ('Imago') is that things as facts require physical interaction, while things as images are based on the stochastic quantum-mechanical link, in ancient times always referred to as 'telepathy'. With aesthetic irony, we might say that a fact is guaranteed to acquire a quantum-mechanical telepathic status by its appearance in the mind as aesthetic energetics which is the light carrying the energy of   the  Universe and creates eternal Life.

Energetic Lysism as a style of all styles reproduces the light carrying the energy of the Universe. The light spectrum decomposition decomposes energy in colours. Each colour contains the purity of the essential brick of the Universe (the All-World' gallery}, the light spectrum decomposition is the natural analysis of world energy. Analysing itself, world energy originates colours as a presentation. Colours are the modes of existence of the natural self-analysis of the Universe. If Energetic Lysism is to bear the name of a style or a drawing technique, it will be the Artist's Human Subjective Repetition of the World Objective Self-Analysis of  the  Universe  through  which   It  Depicts  Itself  as  Colours and a Life-Creating Principle.

Energetic Lysism as a style of the universal Energetic All-Dissolubility of colours and shapes in one another discovered by me, Papa Jean and realized through my pictures that, receiving the Energy of his extrasensory activity, keep transmitting it as Art-Therapy-communication with positive remedial and aesthetic effects.

This is my  Manifesto to humanity for the purpose of humanity's perfection in the way, iamge and model of the Creator!

IMPLICATION OF THE CIRCULAR TECHNIQUE OF PAINTING 

AND  THE   “OMNIJANOISM OF THE BRAIN”

All things originate out of the circular method of painting which can be formulated according to the following logicality:

You have forgotten the phoenix of the ancient Egyptians, the snake  biting its own tail , or – with the Mayas – the creation and destruction of the world by the god Shiva in the ancient Hindu  mythology… That is the cyclical order of the circular motion!

I move my brush clockwise in order to capture time.

The traditional idea of time has been linked to its irreversible nature. And irreversibility of time had produced a sensation and an emotion of the fateful and not running backward of what one has lived through. The linear notion of time breaks the link between past and future , the linear logic confronts us with the cataclysm.

The natural condition of symmetry is the nothing. The natural condition of asymmetry of being. This requires a complex chain of philosophical theses and antitheses.

I will continue by saying that time’s circular nature  has invented the cyclical technique of which we can get an idea through the movement of the hand of the clock When I paint, I use this method.  The old and even avant-garde painters the movement of the brush is linear. They are captives of the linear logic and of the irreversibility…”

This technique serves  me not only to paint  but also to live in a novel manner.

Painting with the help of the circular technique, you go back in time… This is one thing. The other is that you can also travel into the future  and avoid the present dangers. You can experience them simply as a memory from the past…

The circular technique allows you to be free from the  captivity of time. It is that giddy circuit which turns nothing into something…  Can you imagine the nothing?

The circular motion and the constant pumping out and fusion  of past and future  introduces absolute symmetry; it makes nonsense of time and annuls it…

But I am speaking of the merging of the painting and the painted object. Merging!  It produces master-pieces  The circular technique of painting  forbids art as an activity, different from life.  It is your merger of Art and Life. It is the aesthetic way of life…

Art has vanished as such and has become logic, which build reality…

With Energy Lysism I have proven that I am on the threshold  of the circular technique. And to paint circularly means to paint universally .

Yes, I have indeed received the revelation about the Universal Gallery precisely because I wanted on a single canvas to paint everything… This is possible  only through circularity…  Cyclical necessity can take you anywhere. Omnia in omnibus…. The German writer of fantasy Wolfgang Jeske  suggests that returning to the past should be done via a gravitational mechanism. The renowned mathematician Kurt Goedel sees in the general theory of relativity a gravitational mechanism through which is done a return  into the past…. His project has remained  merely in an ideal form and has not  yet found a physical interpretation… But I  have seen the passage of time  via my great-great-great-grandson, the monitor of the future Dave Reese.

The pictures, painted with the help of the circular technique are eternal via their simultaneity achieved through the leveling of  past and future.

And is not the sign of infinity composed of two circles, linked to one another? Infinity is the number 8 lying horizontally…

Energy lizism is nearly the entrance to the technique of circular painting. Nearly!

The energy of its logic can cast Time in two moulds – one is linear, the other circular. Classical physics  is unable to account for it. Physician grasp  only        time is linear nature. Only meditation, mysticism and art,  painting  and music, above all, possess receptors for the circular time. With it, they can also do circular logic.

The traditional notion of time is always linked to irreversibility. And irreversibility carries with it the feeling and perception of the irrevocability of experience, of its subjection to destiny.

Precisely the linear nature of time is to blame for the difference between future and past. The linear logic  determines  that difference.   

The task of the circular logic  is the render meaningless the illusion  of the  Linear logic of the possibility of being and time to exist. Because being and time are produced only by the Linear logic. Only asymmetry allows for being and time whereas Symmetry bans and annuls time through equalization of the potentials and so it  bans the Being stemming from it. Because the natural state of symmetry is the Nothing. The natural state of asymmetry is Being. Insofar as the flow of Asymmetry is time and the crystallizing  and stopped flow of Asymmetry is Being.

Symmetry and the circular logic is that which makes Being null and void because  it makes each and every attempt  at asymmetry, hence of being and time, unreal and unserious. The very circular nature of time has invented  the cyclical technique of which you can get an idea from the motion of hand of the clock.

But if time is circular, it becomes  reversible. And all the horror of destiny is annulled – it vanishes…

The new technique serves not only for painting  but also to enable you to live according to the laws of circular logic. Because once you start painting in circular technique, you already return back to the moments and travel back in time. The circular time, through the circular technique of painting  makes it possible for you to avoid the dangers of the Future by experiencing them beforehand as past events.

The sublimity of the circular time is that in it are equally remembered – strongly and simultaneously – both future and past And this  simultaneous remembering of past and future  restores the absolute symmetry  and renders meaning and annuls time.

The linear technique holds the picture and the painter outside reality and between the fruit and the still life there is a distance – they are two distinct events. And it is this distance which for centuries on end generated the study of art and its interpretations, loftily called  aesthetics. Whereas the circular logic leaves no distance between the fruit and the still life and no difference between the   picture and  painted object which both merge  and produce a single  event. The circular technique of painting bans art as an activity distinct from life and permits only the aesthetic  way of life.

We no longer need to live at one moment  and paint at another  because reaching out for the brush and canvas, we are living already. Art has vanished as art, only to turn into logic, building reality. But if the contemplation of a fruit is at the same time  a creation of it then in this case  the activity of the painter is identical  with ate activity of God. The path to circular logic has been traversed by the Energy Lizism. Once you reach each from each (omnia in omnibus) that is nothing else but circularity itself.

Whereas  Linear logic bans the reaching of each from each by permitting only from some events other to be reached. The principle of non-contradiction – a typical instance of linearity in logic – bans the link between all and each and reflect irrevocable realities. On the contrary, the Principle of contradiction is non-linear and circular. It permits the link between each and each, all and all.

“And the Universal Gallery which I expand within myself do I paint universally when I paint circularly?

“I do not paint universally only when I paint linearly I experienced the revelation of the Universal Gallery precisely because I wished on a single canvas  to paint everything…”

And you can paint through any one thing everything else is only possible if you move circularly.

Move in a circle, think in a circle, paint in a circle, and the power of cyclical necessity will take you everywhere you had desired  to be. The circular technique proves that: The one spot is the spot of all others, the necessity of  one object is the freedom of all others. If  through the circular  logic, being at one spot.

 You are everywhere, then through the circular technique you are in the Universal Gallery, because  both circularity and universality achieve one thing only (omnia in omnibus), i.e. everything within everything “

The pictures painted according to the Linear method  and imitating linear time  are doomed to passing away and doom, because they are temporary. Unlike them, the pictures painted according to the Circular technique which repeats  the circular time are eternal  via their simultaneousness  achieved through the equating of past and future. Because the circular time, turning the past into a future  and the future into past, negates temporality and transforms time into eternity. Then the pictures, which follow the flow of circular time, which rotate in the simultaneous circle, cannot exit that circle and tear up the equivalentness of the moments in order to enter the linear order of moments called time. In this way the escape transitoriness.

“In that case, is it enough that I the painter should take one picture, painted in a linear method and re-paint it  according to  circular technique in order to impart simultaneity to it and  enable it to enter eternity?

“Yes!” was my definite answer.

“But the  pictures  however they are painted, don’t they, after some 10 thousand years will decompose… So they have all been marked by transitoriness?!”

“Remember my reply and if possible communicate it to painters:  Within its brevity, the product of  a true artist, embodies the code of creativity… The pictures, painted linearly fail to reach the Idea of the painting but only remain in the human adoration of that work. Only the pictures painted circularly  manage to overcome that adoration and attain the Idea of the painting, which alone can impart eternity to them…”

“This seems Platonism to me?!”

“According to it, the world is painted twice. Once by God, painted through ideas and therefore ideal and second time painted by man through the things which are copies of the ideas   and hence, it is not painted  but copied…”

“The circularly painted pictures  are not ordinary painting: they are not pictures of  the things (as  are the linear paintings) nor are they pictures of the ideas (because ‘pictures of the ideas’ we ought to call the theories) ; they rather grasp the ideas of the pictures which enables them to carry the Eternity of things. Because we have also temporary beauty and eternal beauty. Temporary beauty is humanly possible while eternal beauty is beauty in itself. No matter whether it exists or has been  achieved by people, angels, gods, demons or  dogs….

The ideas of my pictures and the idea of the Universal Gallery, as well as the fundamental motto of mine “To beauty with love” are more important than everything I have so far created to attain Eternity…”

I started painting brain-omnijanoistic pictures which all-thoughtful, all-emotive, all-encompassing, of multiple images and colors. They are painted by brain plasma  with the participation of 100 billion cells, chemical elements and energies linked to the energetics of 100 billion stars from all over the Universe and they re-create combined subjects from the history of Creation. They cannot be  measured  quantitatively for participation in the Guiness Book of Records because they have been created by the combination of 100 billion multiplied by 100 billion subjects. As each cell in the brain bears all the information of the Universe  and multiplied  by all other cells we get “N” number  from minus to plus infinity pictures. These pictures are the product of the circular technique of painting, Energy Lizism and Universalism which become Brain Omnijanoism. Currently, I am working on the creation of a brain printer, which besides telepathetically, can also through the eyes, like a monitor, to print brain pictures in space.  In the near future the possibility will be ruled out of painting with clumsy hands and their functions will be devoted only to caresses . Millions of picture, formed within the brain plasma, are dissolved  on a quantum microscopic level about 10 at minus 34 degree and as such they become identical with the rest of matter. The idea of  brain omnijanoistic pictures is for them to be deployed telepathetically  directly into the brains of millions of people like video-film  or an image of the future

From the world-famous artist and writer

Academician Professor Prince Papa Jan

WHAT OTHERS SAY ABOUT PRINCE PAPA JAN:

Timen Timev (Johan Ge Moll Materius Rozenkreuzer), world-famous writer and philosopher:

Maestro Papa Jan is a nobleman in life and an adventurer in knowledge.

Where gods freeze in silly self-adulation, Papa Jan, unsubdued by his own joy, indifferent to his latest success, bored by ovations he predicts, embarks on his next adventure, now an intellectual one, or not, but that does not matter because in the warped kingdom of life every exploit is the right one. He is always a monk and a warrior at the same time. All these re-incarnations which his soul undergoes – poet, artist, collector and patron of the arts, creator of a new style in painting, “Energy Lyzism” of a new spiritual teaching, “Janoism”, nature healer, are only the human and pale expressions of a more noble and inexhaustible passion: Beauty! But, unsatisfied with stormy life and by the aesthete’s cheap narcissism, he attempts to encounter this beauty in a more bitter and dolorous image: Truth. This offensive and haughty feminine form of  Beauty becomes his last and final beloved. He is that volcano of energy who does not care in what form he will be cast. Constantly excited by artistic stimulus, no matter whether vis-a-vis Earth, Woman or Idea, he recognizes only one unshared passion: his own contempt. We can always see him, walking about, a self-critical smile on his face. That is why he is ever after his own vision as a stranger and yet thousand-times painted image. Lonely, with the millions of images in the soul and thinking of communing only with his haughty Ego. Energy bestows honours in loneliness which his nobility condescendingly rejects in society. Proud with the cosmos of visions and ideas belonging to him and modest with his human pictures which he paints in hours of boredom (three hundred canvases a year), he, smiling sadly and ironically, alone ponders himself: am I more talented than prolific? Whether he would embrace an ideal, a logic, a compassion or a new style in art is for him invariably an expression of  bestowing ecstasy. Besides being an author and artist, Papa Jan is also a nature healer, treating his patients with bio-energy. His paintings produce energy curative effects with extra-sensory activity. The energy of his extra-sensory abilities has become energy of colours; from individual ability it has become an ability of his productions which, independently of the artist, themselves carry out Art Therapy Communication. Troubled by the unending energy stream in art and in life and seeking to liberate himself of his bursting power, Papa Jan has been compelled to develop a new style in painting – “Energy Lyzism”. It is a style of the universal Energy Pan-solubility of  colours and forms among themselves. The missionary Papa Jan helps thousands of people to live on physically and spiritually.

Valya Andonova – poetess, translator into English

I have to write this explanation which could be a sort of an original review of the oeuvre of the world-famous Bulgarian painter, writer and poet, Academician  Professor Prince Papa Jan.

Though his calling card is not needed, this unique creative artist of great verbal power has by now written  over 20,000 pages of philosophy, poetry, prose, haiku-Janoisms, as well scientific theories, collected in 133  books. Among them stands out the opinion of Radio BBC about the MOST –outrageous book of the millennium, the world bestseller, erotic thriller multi-novel Lunar Orgasm, published in Bulgarian, Russian, English and other languages. Among them is the Universal  Gallery Prince Papa Jan – the great poet prose writer is the also the author of the collection of poems  Pearl Madness“ , of Haiku –Janoisms and other works. With Haiku – Janoisms Academician, Professor, Prince Papa Jan makes fresh discoveries  in knowledge, introducing the new spiritual teaching “Janoism”, the essence of which is revealed through the messages in his books and pictures; he is also the founder of the new trend  in literature, viz., the Haiku – Janoisms, as well as  of a new trend in poetic prose,viz., the “multi-novel”. Professor, philosopher, Papa Jan is under the influence by the philosophy of Rozenkreutzer and is the founder of a new style of painting, known as “Energy Lizism”.

 At the basis of this poem, written by me in reverence to the creative work of Papa Jan lies my impression of the work of the world-famous painter, philosopher, poet and writer, and more particularly, of the influence which has been exerted by the multi-novel Lunar Orgasm and the novel Shop for Airy Towers. Lunar Orgasm is truly unique. The reader is faced with the dilemma whether he/she is normal rather than genius – the one who is its creator this unique energy phenomenon, who is the main character in the novel, or is it quite the opposite. My poem is written rather in reverence to the reader and here and there sounds  like a light-hearted joke at Papa Jan , at his ego of a genius who has come to terms with himself, received universally not quite seriously so that some pale corrective is quite appropriate or a critique; he paints in order to bequeath to the coming generations his splendid works of art. Splendid writer of poetry and prose – from his prose  and from his poetry there flows captivating harmony. Interesting and rich, full of metaphors  in its construction, Papa Jan’s oeuvre reveals immeasurably rapid flight of ideas and visions which are so colorful and rich,  that only a great talent can describe them in their totality. I am impressed by his latest books  The   Book of Love and the  collection of poems Love in Silene. So lofty and inspired by genius are they that no comparison can be drawn with anything  like that written in world literature.

 Such people of genius have always to be stimulated and provoked to create art. It would be a huge loss for the coming generations not for a single day to omit creating their art because from their talented pen and brush are born eternal works for a nation which are localized in the treasure-trove  of Bulgarian art.

         REVELATION – FEEDBACK

         Is it a nightmarish dream?

         You simply uttered it – that is to be the final novel.

         I looked in your eyes and recognized you,

         Though deliberately made up,

         I shed secret tears and trembled,

         Kissing your creative hands.

         I thank you, Papa Jan

         For the miracle you bestow to the world with brush and pen.

         Ideas, thoughts and dreams

         Dropped in upon the ash-heap

         Where here and there smoldered live coals,

         The great potential energy of a genius who has buried his pen in the ashes

         Like a sword after battle.

         And I collapsed so spontaneously

         Blood dropping from a wound of a soldier

         Bold ideas  all over the ocean,

         Ideas  so highly flying

         Towards a lonely unattainable peak

         Where proudly, like a standard shines even in its sorrow,

         A saintly genius,

         The genius of none other than Papa Jan.