Analogue capital: The gold of being offline in a digital world

photo Kenji Wakasugi, art project/ book “Adore” 2021, Madonna 1985

According to sociologist Catherine Hakim there are not three types of personal assets (economic, cultural, and social capital), but four.
The fourth is erotic capital. 

Hakim’s work is not unique;
There is a Wikipedia page on erotic capital that showcases the work by other researchers as well.

And I also came across an article that was entirely devoted to proving that Hakim’s theory was inferior to the other research.
I think it was implied that it was unfair that the world didn’t know the other research. It had not made it out of the academic world into the mainstream world.

But Hakim was the first to call it Erotic Capital.
And not, like it was called before, Sexual Capital.

Whatever the content of the theory of one researcher versus the other, all trying to explain the same thing; Erotic Capital IS the better word!
Most sexy word wins.
Or, to stay within the lingo, the word with the highest erotic capital, wins. 

So what wording will make it, when we’re talking about the art of staying offline?
Or perhaps more accurately;
The art of leveraging, your offline time.
As well as leveraging your online time!

I’m in my first paragraph of trying to jump from erotic capital to what I have called Analogue Capital, and things already get wordy.

So I write this post knowing that Analogue Capital, Analogue Heritage, and Analogue Resilience, are not necessarily the words that will be the ultimate definition of what we, ten years from now, will all know.
And I will only discuss Analogue Capital in depth.

The other two, which I may work out in the future, are;
– Analogue Heritage 
Defined as offline habits, rituals, spaces and places, groups of people. 
– Analogue Resilience
The ability to go by without the digital world, in its functional use. So this would mean for example keeping on an analogue landline/ home phone.
But the analogue resilience I think is more acute, in the ability to not be in continuous conversation with, or exposure to, the online world.
And to not need the distraction of apps or refreshing pages. The ability to “be present” in the offline world.

I will only discuss Analogue Capital;
Defined as literally monetizing offline time/ analogue life, and/or learning to prevent overspending our time and attention online.
For some Analogue Capital will mean selling their offline time (delivering deep work, work that requires high concentration),
and for others it will mean achieving wealth because they win all their free time back.

And I am aware that Analogue Capital may or may not be the wording that we end up using, ten years from now. 
But the reason I chose to add “Capital” and not an “-ism” such as 
Minimalism and Veganism, which have become normal principles in the past decade, is because Analogue lifestyle choices CAN be a lifestyle change;

Just like as a principle you can refrain from consuming animal products and keep your possessions minimal;
You can choose to entirely refrain or limit your online time, out of principle.

But, the reason I have coined it to “Analogue Capital” and not (like Cal Newport did in his book Digital Minimalism) to an -ism;
Is because I believe being offline is an asset.

Unlike minimalism, or veganism, you could choose to be offline/ live analogue, because you want more money and more power.

Having an offline life is not just a lifestyle choice, that reflects your values (as an “-ism” lifestyle is);
It also makes your brain, your talents, your presence, more valuable.
You can monetize yourself better, just like people high in erotic capital can monetize theirs.

To illustrate this, I will use a comparison to something Brian Eno said about the creation of art.
Genius versus Scenius.

In general it is thought that much like religion, the “idea” (genius) comes to an artist from above, from God, and it is the artist’s job to let the message through and bring it to this earth.

Like the topic of blogpost, this topic of living offline, is a Genius or genie, that  has been around me for weeks now, and it wants me to write very often.

I usually ignore this genie, although the fact that I have known from the start of this blog a few weeks ago, that this art blog would rely heavily on offline values and offline life proves that this genius or genie, he or she or it, does have a large influence on me.
But still, I usually say to the Offline Genie:
“I already wrote about you last Tuesday. Mommy doesn’t have time for this.”

But this morning little Genie started dancing around while I was still in bed, and before I knew it she was lying next to me and we had spent 90 minutes together, browsing topics like erotic capital, Chronos versus Kairos time, and relational aggression among teenage girls.  
The latter has gotten worse because of social media and Whatsapp communication, whereas the boys now shoot their friends digitally, instead of resorting to violence with their rivals or settling power structures physically, as they used to. 
First conclusion of Genie and me:
Boy worlds have become more peaceful, girl worlds unsafer.

Those are the things Genie and me talked about, as we used my Samsung internet browser.
As you can see Offline Genie is not a purist.

But at the same time, my ideas about online life are not just brought to me by this offline Genie, or Genius. My ideas or sources of inspiration also come from the world itself.
From “the scenius”.

In the seventies Brian Eno worked closely with Robert Fripp (duo Eno & Fripp), and they both worked with David Bowie.
So the scene, or the scenius would have been “London in the 70s”, which already provides an array of topics, atmospheres, social circles, sensations.
And then the interaction between Eno & Fripp, the interaction (collaboration) between Eno and Bowie, the collaboration between Bowie and Fripp, would be the other energetic bubbles popping up or spontaneously being created in response of them interacting.

These musicians didn’t get their ideas just from their geniuses/ the spirits/ from God;
They also got them from the scene they were in.
The scenius.

The reason I believe being online is costing you money, is because –
Oh! Wait!
I HAVE TO first talk a tiny bit about the addiction element of online media.

Short version:
In 2012 Facebook engineered their platform to reward you (this is a thing in your brain where you get addicted to the Likes, like digital heroine) and all the other platforms and news media and so on followed.
If you’ve seen the movie The Matrix, you can compare it by all of us being tied to an (online) world we are sucked into.
Our souls are on the internet, in our phone, while our offline bodies are devoid of awareness just like the floating bodies in the Matrix harvest tanks.
Okay that was not short.

Anyway, where was I?
Got it:
“The reason I believe being online is costing you money, is because “

It’s because if we take the Genius (inspiration from above) Scenius (inspiration from others around us)  comparison;
Internet addiction has pulled us in a perpetual Scenius without being able to talk to our Genius.
And to a very large extend, our Scenius isn’t real.

In our scenius we are not improvising with our synthesizers and cracking jokes with David Bowie.

And instead we’re anxious about what we just posted, or what someone else has posted. We have Whatsapp groups where people are asking for attention, people we never chose to have in our lives to the extend that we are in continuous conversation with them.

We are way too available to the Matrix, to the world, to Mark Zuckerberg, to anybody who wants to presents their advertisements to us.
Even if, most positive scenario, even if The Matrix of the internet is real.
Even if it is a reality that it can be used as a “Scenius”, as creative ground and inspiration, and I know from 15 years of being online that it is;

Even then being online needs to be managed, because internet is a predatory force in the Scenius.

A healthy Scenius (again: credit for this word to Brian Eno, not me)
is a combination of online and offline contacts,
with limited or at least managed/controlled exposure (in both) to whomever and whoever wants your attention or your money. 

In the offline world, we have numerous boundaries to protect people from entering our space. No one can just barge into the noise cancelling recording studio and disturb your Bowie collaboration, mid-day!
We do not open the door for everyone.
We make small talk and keep an emotional and physical distance.
And to navigate our decisions and the in-person dynamics we can see how the other person responds.

But online there are no rules, hardly any etiquette, and it is unclear when or where you can safely come closer.
Or “who” is welcomed to come closer, and who is not.

The chaos of the online space is best compared to the impunity of the wild west.
And the habit of constantly being online and checking your phone can be compared to smoking in the 50’s which was then done by everybody everywhere.

Ten years from now, legislation and etiquette on the internet will be clearer, its limitations more widely known, and the first groups of people will have established strong online/offline boundaries.
Just like there were people who no longer allowed you to smoke in their house, there will be companies, theaters, but also friends you visit, where it will no longer be normal to be online during your stay. 

It will change, just like smoking changed.

Even if you are not an artist, or do not believe in a Genius, only live in the real world, and are very social and do not like solitude;
Even then it pays off to only go online deliberately.

When you know what you are going to do there.

Cal Newport calls this “operating procedures”, in his book Digital Minimalism.
It means that for every app or website, you know when you’re using it, and what you’re going to do there/ how you’re going to use it.

I ve been writing for three hours, and I can feel this article has not even covered half of everything there is to say about Analogue Capital.

One more aspect I want to cover is, is that you can only capitalize/ use analogue capital if A. you know you have it , and B. stay in touch with the online world.

I will explain this with Madonna’s erotic capital and with the online world/ offline world of The Matrix.

Madonna only benefited from her beauty, because she knew what she was doing.
Like a sword; Erotic Capital needs to be wielded. It doesn’t need to be harnassed to work; A sword is always a sword.
But it needs to be harnessed and wielded to work for you.

If you live in the woods, in analogue paradise, you have all the advantages of living in that timeless energy the Greeks called Kairos time.
You have all your time back to yourself, and you can spend it on making things for you and your family.

But the money probably will not start rolling in until you write a book about offline life, start giving guided tours over your property, start The Offline Academy, have an Instagram, start giving management seminars, have an elite clientele, and so on. 

Madonna was just as magnetizing her first years in New York, as she was after she became famous. 
She already had “the sword”. 
But the reason she profited from her erotic capital, was because she was practicing that sword. Training her moves, planning her moves. Making them with great confidence!

Madonna did not sit on the couch until her erotic capital started making her money. She worked it!

So that is the first aspect of Analogue Capital that I wanted to share, closing this post:
You have to know your worth, and work it, as a deliberate offline person.

And the second thing I want to leave you with, is the comparison with the real world, in the Matrix.

click photo for the age restricted dance scene, filmed in Zion. I think this is what our post-Covid party will look like.

Near to the core of the earth there is an enclave of real people, a rebel settlement called Zion. It’s in the Matrix movies 2 and 3.
These are either people whose bodies are freed from their tube, and their minds are freed from the Matrix. They can be recognized by the scars/ connection points in their bodies.
And the other people are normal humans, who were born in Zion in a natural way.

The resistance fighters, among which Neo (Keanu Reeves) and Morpheus (Laurence Fishburne), spend their time mostly on their ship, where they have the equipment to go into the Matrix.

The rebels, or people in the world of Zion, spend their time mostly in their physical bodies. They are far less powerful than the resistance fighters who go into the Matrix. In fact, the people in the world of Zion are dependent on the machine/ artificial intelligence to clear the air, cool their habitat.
Zion is not as agile as the resistance fighters on their ships, not physically (their world is fixed) as well as mentally (their mind is always in Zion).

This analogy shows us where true power lies:
It is in moving between these worlds.

If you go offline to your house in the woods, your power is limited because your world is fixed.

The other option is to be like the resistance fighters; and this is when analogue capital comes in.
If you live like a resistance fighter, then you are offline most of the time (on your ship) and you go into the Matrix deliberately, and after carefully reading Cal Newports operating procedure! 😉 

That’s how you go in the Matrix, meaning that’s how you go online. 

But you don’t go there to be entertained; you go there on a mission.

Finally, a word of comfort;
In The Matrix, there are good programs too. They look like really nice people, so (naturally) you first assume that they are resistance fighters, who have a physical body somewhere else. 
But they are programs. Really sweet and wise ones.
This too reveals itself in the later parts of the Matrix, not in the first movie.

The same thing goes for the internet;
It is not a bad place. You will meet the most amazing people there. 

And the great news is;
They are real.


Suzanne L. Beenackers

You can subscribe to the Wold Between Worlds and receive new messages in your Inbox.
The button is on this page, probably somewhere on the right.

my personal Twitter account

Also by me:

Rock Star Writer
Blog dedicated to Bon Jovi, sex, and rock n roll.
And Rock Star Writer on Facebook
my rock star writer YouTube

Liefdeseend en vintage yoga (Nederlands/ Dutch)

beertje Puux op Facebook (Nederlands/ Dutch)

I’m taking the red pill: Finding my “Covid voice” as an artist

In The Matrix, Neo is offered a red pill, which will wake him into his real body, or the blue pill that will keep him in his dream state.

A distinction I often make, to explain why an artist feels differently and prioritizes differently (or should).
And, as I have come to realize today, will probably also respond differently to crisis (or should!),
is by comparing artists to the other group, one I have called “builders and sustainers”.

Which are two groups;
The builders on one hand, who may even be creators but because the only acceptable direction of that creation is upwards (and not downwards) they are not creators in an artistic sense.
But creators in a productive sense.

And the other group are the sustainers or the service providers.
They are there to make sure everybody’s assets, including their bodies, are taken care of or even upgraded.

In theory, or globally, there is an equal amount of builders and sustainers necessary, but with many labor/”partial builders” being relocated to Asia and other low-income countries, more sustainers are needed than builders.
At least in the west.
We do not build our own products, but we are still dependent on the caretakers of our society being physically present.

However, because the majority of the service industry is work that used to be done by women, which means for a long time free or unpaid or it was not done for example education for everyone;
The costs of sustaining something, or providing services to those who did not have those in the past, are usually not calculated.
Nor let’s say “happily paid”.

This is one of the major flaws of capitalism;
Everything that was done by slaves or women 2000 years ago, or for people who would have been slaves or marginalized in those times, is still underpaid and undervalued to this day.

Knowing all that, it is perhaps no surprise that within this group of builders and sustainers, which we will refer to as “normal society”, they’ve got a lot on their minds as it is.
Even if we don’t start counting in Roman times, but take the industrial revolution as a starting point of modern society, one can see the improvements that were made did not come from an artist making a beautiful escapist painting that made people forget their worries.

They came from people starting revolutions, refusing to leave until the thing was sorted.
Or it came from artists who were knee-deep into politics, and who did not provide a band-aid for the soul;
They gave you a sledge hammer to tear the institutions down.

The artists who mattered in the times and for the times, were the ones who jumped right into the builder and sustainer world and gave the bad guys a beating they would not soon forget. 

Now first of all, if I would create art to be remembered, I would not recommend creating something that is current.
The best way to be remembered is to be practical, make stuff that sells, to not be too much of a nitpick with your principles, and to blatantly fill your pockets.
This is also usually the art that makes it through the ages because once someone has either paid a lot for your work, or made a lot of money from your work, your legacy is much better protected.
And who was right and who was wrong is soon forgotten.
Do we still remember which bands played South African resorts during apartheid? 
Even the ones who were adults in the 80s will have forgotten.
Another example is the fascist promotion movie Triumph des Willens. From what I have come to understand Leni Reifenstahl was not a fascist: She was a smart business woman.

So from a financial perspective, what to create in the Covid crisis is really simple: 
Something that sells.

So those are, in my opinion, the two purest options:
Either you get yourself dirty and put yourself in service of a 2000 year old battle of capitalism, emancipation, and worker repression. Which would mean finding out which groups are unfairly hit by Covid regulations (my pro-tip would be to look at the group under 25) and then you are going to support them.

Or, alternatively, you simply suck the world dry until the final penny.

As noble as the first option sounded, and as tempting the second, I could not make up my mind between the two.

I did not want to create something that was justified just because it “was good”. Or a protest or something.
And I also did not want to create a new Triumph des Willens.

The only thing I really wanted?
Was to destroy all my work and start living like a hermit.

In the words of Luke Skywalker when he isolated himself on a deserted planet and then a deserted island: 
“I came to this island to die.”

But before I destroyed the map to my new offline whereabouts to disappear forever, and before I sunk my X-wing into the ocean so that I could not change my mind and leave,
I figured the least I owed myself, was to cut the decision in half:

Starting with the work I have created under pseudonym.

I have been using that name for over 15 years, to write books about sex and I write diaries, and I was not “done” there!
I wanted to stay.
But there was a big problem;
That work was related to sex, in particular sex as a single, and therefor the entire work was based on a freedom we no longer have. 
And also on a mood I am no longer in.
There is nothing more off-putting than calculating if you’re willing to cough your lungs out with a week long fever, all by yourself in your house where no one dares to enter;
If you’re willing to die, kill your friends, colleagues, or family members you’re going to see in the upcoming 10 days, just because you could not keep your pants on?

Call me crazy, but for me, that kind of knocks the fun out of it.

Under the current circumstances I really don’t have anything inspiring to say. Nor to do!
And it really is not just the physical risks, it’s as if an entire mental world has been poisoned.
Covid has crept into our minds.
To see Covid as something we need, or even can, contain if only we all stay inside, is a political choice. It is a mindset of control, of trying to keep nature from killing us.
Sex is the exact opposite.

Sex is knowing that you’re going to die, and that the only thing that will save you from the pointlessness of it all is to have sex.
That is an entirely different paradigm than trying to contain a pandemic.

I simply refuse to have conversation about “are you sneezing” “have you been vaccinated”, in social situations and in particular when it comes to sex.
Until we can freely stand next to each other, feel each other up, kiss, cheat, live secret lives and so on, without having to deal with DEATH?
I really can’t see myself having a sex life again.

It’s over.
The spark is out, to give just another Star Wars quote.

I m leaving sex to the married people.
And I may have said that with sarcasm in my voice.

So after yesterday, after the day I decided having a pen name was pointless and that it could be safely abandoned, today was the day I would decide on what to do with the work under my real name.
Something I did not start, until recently.
And even now I still wonder:
Have I started?
Or am I one leg out?

Have I committed to being a writer under my real name, after quitting teaching yoga, or am I still coasting, waiting, hesitating?
Do I even want to be known under my real name?

Would I not be much happier destroying it?

If I delete all my social media profiles, my websites, my Linkedin;
Do I still exist?
If I stop following the news, how will I see the world?

If mid-Covid I would stop informing myself, would it be like taking the red pill in the Matrix?
Will I see a world the others can’t?

Is there a law that says I have to open my email?
What if I closed my email and just stopped existing digitally?
Can I still be a creator, if I don’t exist digitally?

Do I still exist?

Where my decisions on my pseudonym had revolved around the actual work (writing, books) and what to do with it, my thoughts about my work under my real name, centered around:
If there is no “I”, do I still exist?

Can I exist in work alone?

I believe in art coming from the things you encounter everyday. This can be online, but also in the real world.

I feel NOW is the time, to turn my back on the digital world (without turning my back to the people who want to interact with me),
and to find out what my art is, if I only show up for:
-my art
-other people

Coming from 24 hours where I could only just keep myself from destroying all my accounts and all my work, that sounded surprisingly constructive.
And humane.

With sex as my main value taken out of the equation, my new life reflects my temporary main values in times of Covid:
Art & Real connections.

Tomorrow I will resume creating under my real name and I will start making books from the work I did under my pen name.
I will be offline the majority of the time, for the upcoming months if not years.

I will not be checking any news, other than a quick headsup before I go out the door, to make sure I do not get fined.

My work will no longer be current.

Because I believe my work does not lie within the world of the builders and the sustainers. It lies “just” in being a creator.

I think I never quite fully explained what the big difference is, between builders and sustainers on one hand, and creators on the other, did I?
It is very relevant.

The big difference is that builders and sustainers, keep things as they are or make them better.

But the creators, artists, are not just the creators of worlds.
They are also the destroyers of it.

They’re the ones offering you the red pill.

Suzanne L. Beenackers

You can subscribe to the Wold Between Worlds and receive new messages in your Inbox.
The button is on this page, probably somewhere on the right.

my personal Twitter account

Also by me:

Rock Star Writer
Blog dedicated to Bon Jovi, sex, and rock n roll.
And Rock Star Writer on Facebook
my rock star writer YouTube

Liefdeseend en vintage yoga (Nederlands/ Dutch)

beertje Puux op Facebook (Nederlands/ Dutch)

Basic Instinct: The Erotic Space Between Catherine and Nick

By now I know more about the meaning of the movie Basic Instinct, than the people that created it.

Originally, just like most people, I thought there was some kind of hidden secret. A whodunit Easter egg or clue we all missed, that would explain the entire movie.
Now this blog post is not at all about if Catherine Tramell, the female protagonist (some would argue the antagonist) is the murderer or not, but maybe it does help to know that I have concluded that she is not.
Which allows me to watch this movie entirely as a love story between the writer and 103 million rich Catherine Tramell, and the San Francisco detective Nick Curran, who has a shady past where he went rogue doing undercover work.

She has been studying Nick to model the main character for a new book she is writing.
The book is called “Shooter”, after Nick’s nickname because he shot innocent bystanders on a drug bust.

Presumably when he was on coke.
This was the time Nick was pulled out of his undercover work, and had to face charges, making headline news.
This was also the time when he must have caught the attention of Catherine.

If we look at Basic Instinct as a love story between a writer who is falling in love with her main character, and a troubled detective who has even lost his wife to suicide in the wake of the charges but whose spirit is unbroken.
Then this story becomes even more compelling than if you focus on the brutal murders taking place.


You see that the brutal murders serve as the backdrop, it is the stage where Catherine and Nick find each other.
And because they are the only two people who are not intimidated or scared by the murders taking place, they immediately recognize each other as kindred spirits.
They are both familiar with death, and have both been in a dance with danger their entire lives.
But there is something else;
They both live in their own space.

They live in the world between worlds.

Last week when I started this blog, I did it because I realized I was more fascinated with the (inner)  world where the art is created;
Than with the craft of the fine arts themselves.
It also explains my preference for immaterial art in the form of performance art of Marina Abramovic as well as the music and concerts from Bon Jovi.
A remarkable difference between Marina and Jon Bon Jovi is however, and I don’t know if you’ve noticed this, that Marina seems to carry her world between world, her space as an artist, with her all the time.
Just like Madonna, or Obama.
They’re always “On”.
Whereas Jon Bon Jovi does not do that, and is often very laidback and usually more concerned with his philanthropy projects than with being in his artistic space on a day to day basis.
For him the artistic space is related to actively performing on stage, to writing music, to singing;
But it’s not where he lives.

But Catherine Tramell from the movie Basic Instinct lives in her artistic space.
She creates her own life with the dynamics, and topics she’s interested in. She actively scouts interesting people, she can write about. Exactly like she did with Nick.
“How’s your book coming around?” Nick asks at some point.
“It’s practically writing itself,” she answers, referring to all the things that are happening in Nick’s life.
She only has to write it down.

And Nick too, lives in his own space. His is a space of danger and adventure.  Catherine deliberately creates her own space, the stage for her books; But Nick is more someone who is drawn to worlds that already exist, and then is a master player in them.

He is aware of the space, the world between worlds, which gives him an advantage.
Most people take life very seriously, and do not see that they are free to choose their own part. 
To choose who they want to be.
To switch or uplevel their character.
Nick does.

But Catherine?
She’s the one who first conducts the play, who orchestrates its elements, and then waits for her characters to start playing.
Most play without knowing it, think what they see in her is reality.

Unlike all of Catherine’s friends, unlike her former partners and unlike the retired rock n roll star named “Johnny” and his surname starts with a B (I’m not making this up!);
Nick plays deliberately.

Catherine and Nick immediately recognize each other;
They both live in the world between worlds.
In the world behind our own world.

And when everybody else is worrying about murders taking place, and subpoenas, and warrants, and drama and mayhem;
All they see is each other.

Those of us who visit the world between worlds, to create their art or create their lives, know you are almost always alone there.
Marina meets others there when we are part of her exhibition.
Jon meets us there when he is on stage, and we are in the audience.

But Nick and Catherine, were eye to eye, privately.
They really saw only each other. There was a whole layer of reality between them, that others could not enter.

The first time I consciously started toying with the idea of what I have now called the world between worlds, was when I heard Esther Perel’s talks on creating erotic space between long-term couples.
She defines it as a space of possibilities and adventure.

But what I have experienced is that some people carry this space in themselves. And they create their art, or their relationships, from there. You enter their play, just like you see their rock show, or visit their exhibition.
I believe this is a factor in being sexually attractive (or active) that I have not heard about before;
If you live or visit this other world, artistic space, erotic space. If you are a creator of worlds just like Catherine.
Or if you are an active player in that space, like Nick.
But dividing the roles this strict is not how it is;
They’re both players.
And they’re also both creators of this world, with their consciousness.

In the world between worlds there is no difference between the creator and the created.
Between the player and the played.
It is a place where everything is possible, but the price for being there is that you need to give up your idea of right and wrong, and of reality.

Like wanting to know who did it in Basic Instinct.

Suzanne L. Beenackers

You can subscribe to the Wold Between Worlds and receive new messages in your Inbox.
The button is on this page, probably somewhere on the right.

my personal Twitter account

Also by me:

Rock Star Writer
Blog dedicated to Bon Jovi, sex, and rock n roll.
And Rock Star Writer on Facebook
my rock star writer YouTube

Liefdeseend en vintage yoga (Nederlands/ Dutch)

beertje Puux op Facebook (Nederlands/ Dutch)

The World Between Worlds

World Between Worlds was founded on January 13, 2021
But it has always existed.
The logo you see on this page, was created by me when I was about 11 years old.
The heart with anchor-like extensions is a combination of the letters S, L, and b, and it was the basis for my signature, which I developed then.

I have suspected I was an artist, although just like others I originally identified myself with my profession. I was a yoga teacher for over 15 years.
Or I defined myself by what I did most, which was writing. I have been writing under a pseudonym for a very long time.

Yoga teacher by day, writer by night.
Yet after I quit teaching yoga, I felt uneasy defining myself as a writer instead.

It isn’t until now, that I have realized my real art is, and in all likeliness always has been, immaterial. That I am much closer to a performer, than to a writer.
I am someone who method acts, a writer.
And that I am much closer to a dancer, than to a yoga teacher or even a yoga practitioner.
I am expressing myself through my body.

And the real art is even further behind that.
Or maybe not “the art”;
But the magic.

Although I will write many more pieces, and discover many things here with you on the blog, right now I believe the sequence is this:
First there is space.
And then in this space an energy field is created.
A world.
And from there things can be created that can be taken to the real world, and other things stay in the world between worlds.

I want to give you examples of the moments when I have become aware this otherworldly place existed.
I have been aware of the world between worlds when:
-I went to a Bon Jovi concert in 2019, and the months, the weeks, the hours working towards that experience were actually CREATING the experience,
as much as Bon Jovi did, who are a builder of worlds and did their part of creating the experience.
-when I saw my lover, having kept him active in my vibration for weeks in a row, and then anticipating to see him, until the final date;
That was creating the experience.
As much as my lover created it who was a builder of worlds and who did his part in creating it. 
-When I went to see Marina Abramovic in 2014 in London, and it took weeks to prepare the trip, and I was excited, and entire London seemed like magic;
I was creating that experience.
As much as Marina Abramovic did who is a builder of worlds, and who set up the exhibition at the Serpentine Gallery.
-When I met my best friend and we communicated as if we were two little boys, instead of two grownup women. To this day we have our own language, and we communicate in character.

You can transfer the art created in those worlds;
But you cannot convey the world itself. It can only be experienced, by those who have taken part in its creation.
Those who have found their own keys to the kingdom.

From Bon Jovi both as a teenager in 1988, as well as in 2019;
To Marina Abramovic in 2014;
To my best friend and all the men I have ever been in love with;
The reason I was intrigued by them was without exception because I wanted to be in their world between worlds.

They had created an energy field, a world, with their minds. 

The essence of art is never in the art.
But in the world behind it.

I know the term world between worlds from Star Wars.
In anticipation to Star Wars IX (2019) I spent two years in fandom,
putting together the pieces of the puzzle.
How would the final episode of the Star Wars saga end?

Ultimately the term, or the location, of the world between worlds was never used in Star Wars 9.
But it had been a location in earlier scripts, there was talk that the set existed and that scenes had been shot there.
Scenes that ended up on the cutting room floor.

In the end, the world between worlds was no longer in the finished product.
Which makes sense.

Because it never is. 

Suzanne L. Beenackers

You can subscribe to this blog and receive new messages in your Inbox.
The button is on this page, probably somewhere on the right.

my personal Twitter account

Also by me:

Rock Star Writer
Blog dedicated to Bon Jovi, sex, and rock n roll.
And Rock Star Writer on Facebook
my rock star writer YouTube

Liefdeseend en vintage yoga (Nederlands/ Dutch)

beertje Puux op Facebook (Nederlands/ Dutch)