#ipsissimus

Ipsissimus is a Latin term meaning “most self” or “selfest.” Philosophically and esoterically, it represents a state of absolute self-possession, complete spiritual independence, and total alignment with one’s true nature beyond all external authority.

The term is most famously used in Thelemic philosophy, especially in the work of Aleister Crowley, where it designates the highest possible grade of realization. But the idea itself is much older than Thelema—it echoes ancient themes of self-sovereignty, divine identity, and non-dual being.

At its core, the philosophy of Ipsissimus asks:

What would it mean to exist without dependence on approval, fear, doctrine, ego, or even identity itself?

1. Ipsissimus as Absolute Self-Sovereignty

Ipsissimus represents a condition in which the individual is:

Not controlled by desire

Not ruled by fear

Not bound by social identity

Not dependent on moral praise or blame

Not in conflict with internal forces

This is not mere confidence or ego-strength. It is complete metaphysical autonomy—a state where action flows without psychological resistance or self-contradiction.

Here, the will is not forced—it moves freely because nothing within it is divided.

2. Beyond Ego: The Paradox of “Most Self”

Despite its name, Ipsissimus is not hyper-ego. It actually marks the collapse of ego as a governing force.

Philosophically, it aligns with:

Advaita’s realization of the Self beyond individuality

Buddhist non-attachment to identity

Stoic interior sovereignty

Nietzsche’s post-moral self-creation (at its most radical edge)

The “self” in Ipsissimus is not:

personality

trauma

social role

moral narrative

It is being without psychological friction.

3. Ipsissimus and Freedom

Ipsissimus represents the highest form of freedom:

Freedom from compulsion

Freedom from internal contradiction

Freedom from fear-based morality

Freedom from validation

Freedom from the need to justify existence

This kind of freedom is terrifying because it removes all scaffolding. There is no authority left to appeal to. There is only direct responsibility for being.

4. Ipsissimus vs. Moral Systems

Most ethical systems operate on:

guilt

reward

punishment

duty

obedience

Ipsissimus exists outside these structures. Not because it rejects morality out of immorality—but because it no longer requires external moral regulation.

This creates the central philosophical tension:

To those outside it, Ipsissimus can look like lawlessness

From within it, it feels like perfect alignment

It is not “anything goes.” It is: nothing unnecessary governs.

5. Ipsissimus and Reality

Metaphysically, Ipsissimus is often described as being:

Unaffected by illusion

Undisturbed by dualities

Untouched by fear of death

Unentangled with time-identification

This gives it a godlike aspect, though not in a supernatural sense. It is godlike in that the being is no longer psychologically subjected to the world.

The world happens—but does not possess the self.

6. The Danger of Confusing Ipsissimus with Ego Inflation

One of the greatest philosophical dangers surrounding Ipsissimus is mistaking it for narcissism or superiority. This is often how the concept is abused.

True Ipsissimus:

Does not seek followers

Does not demand recognition

Does not dominate to prove freedom

Does not build identity around power

If domination is needed, sovereignty is incomplete.

7. Ipsissimus and the End of the Path

In most traditions, growth is structured as ascent, purification, or integration. Ipsissimus represents what comes after the ladder is no longer necessary.

It is:

Not spiritual striving

Not self-improvement

Not moral perfection

Not enlightenment as spectacle

It is arrival without display.

Conclusion

The philosophy of Ipsissimus is the philosophy of ultimate self-possession without ego, freedom without rebellion, power without domination, and identity without psychological imprisonment.

It represents the rarest philosophical ideal:

A being who does not need permission to exist as itself.

Not because it has taken authority—

Apocalyptica - cello

Now this is a trivial example, but at one time the use of Apocalyptica cello was amazing. That's how they dubbed their genre - cello metal.

Metallica - the whole orchestra

In 1999, Metallica teamed up with an entire orchestra to present their work in an original way on tour. They weren't pioneers: Depp Purple had done this before.

Botanist-cymbals

The black metal band Botanist, which uses cymbals instead of guitars, was able to stand out on this issue. However, from black, only the general aesthetics are present in this music - the rhythm section characteristic of the genre, the corresponding vocals and the harmonic structure of the works. The atmosphere of the songs sometimes resembles the OST from computer games.

The sound on the cymbals is extracted by hitting the strings with a hammer. In the absence of jamming during the strike, the resulting overtone is transmitted to other strings, resulting in a continuous humming background that allows you to form a connection of sounds and merge them into a single melody. What you need for black without guitars.

Ipsissimus-waterphone

Strangely enough, or maybe the opposite is obvious, but it is black metal bands that are most often not afraid of some kind of avant-garde musical solutions and use unusual instruments in their music. For example, the band Ipsissimus used the waterphone instrument in the song The Alchemist's Goatthrone. This microtonal instrument resembles the sound of whale songs.

With the help of a single waterphone, you can create the most eerie soundtrack to a horror movie. Actually, it can be heard in the films "Dark Waters", "Poltergeist", singer Bjork, Tom Waits and D.R. The waterphone consists of a steel resonator bowl and bronze rods of various lengths placed along its edge. Water is poured into the bowl. When the instrument is swayed, the water overflows, thereby changing the sound. Sounds are extracted with a bow, tapping of rods and a rubber hammer.

In the last century, theremin was quite popular among bands playing psychedelic rock or just trying to add an unusual sound to their music. He was used Led Zeppelin, Spirit, Pixies, The Rolling Stones and even The Beach Boys. With the dominance of synthesizers, the popularity of the instrument has decreased. Nevertheless, when some bands want to add "creepy" to their music, or create a vibe of the 60-70s, they still periodically recall it. And he still makes an impression. For example, the theremin can be heard on the 2012 album Clockwork Angels by Rush in the song "BU2B", in the 2007 track Six by Chimaira, in the song Steady Breakdown by Kylesa. The theremin in the song Garbage – Cup of Coffee 2001 sounds very atmospheric.

It is worth noting separately that in many countries rock and metal bands, especially those who want to give their music a national flavor, use folk instruments. Folk groups are generally leaders in the use of instruments that are not the most typical for rock. For example, the Hsu-nami band, founded in the United States by an American of Taiwanese origin, Jack Xu, uses the erhu in music - an ancient Chinese bowed musical instrument with two metal strings

Oh Beautiful Night - Hsu-nami

erhu

The German folk metal band In Extremo is perhaps one of the leaders in the use of non-standard instruments for metal music. They sound: wheel lyre, bagpipes, shallots, nickelharpa, harp, cistra, trumscheit, cymbals, tabla, davul and many others. They also use a huge frame drum covered with horse leather.

Aerosmith used the Indian stringed instrument sarangi in the song Taste of India.

New Zealand alternative artists Incubus used the didgeridoo, the oldest wind instrument of the Australian aborigines. Australians Like A Storm have also used this tool. In Love The Way You Hate Me, his sound is based on a solo loss in the middle of the song.

In general, some groups use unusual sounds for shocking, others to create a musical atmosphere and give individuality to their work. And some are for both. After all, anything that makes sound can be used to create music. And the appropriateness of using a particular instrument depends only on the imagination of the creator of this music. In any case, if there were no experimenters, there would be no development. Once upon a time, the sound of an overloaded electric guitar was a novelty. Who knows, maybe one day in the post-apocalypse world, instead of electric guitars, everyone will play on the surviving cymbals and garbage cans, and something completely different will be something unusual in music.

Moi aussi j'ai despair moi.

I am homeless and could use some help.

百樂，s20。

貌似比記憶中都要小一點。是的，這是第二支了。傳說中的河馬木，好吧，我是木頭控。

也算時曬物。每月一曬？其實也沒有這麼多了東西了。

如何考慮與物的關係，可能纔是更應該反思的，雖然更緊迫的是如何還花唄。

"研習偉大的著作的過程本身是一種慰藉，我們也沒有其他途徑得以安身立命……因爲意識到了思想的高貴，我們就意識到人類尊嚴的真正基礎以及世界的善。"——好吧，我確實不是很確定後面半句。

"這樣的人實乃鳳毛麟角，我們不大可能在課堂，甚至在任何地方遇見其中哪怕一位。如果誰在有生之年能與這麼一位偉大的思想家共世，那真是幸運。"——好吧，多年之後還是仍然被成功洗腦。

"自由教育在於和最偉大的思想不斷交流的過程，這是一種即使說不上謙卑，也是最爲謙遜的訓練。它同時也是勇氣的訓練：它要求我們與知識分子及其敵人喧囂、浮躁、輕率和低劣的浮華世界測地決裂。它要求我們鼓起勇氣，把普遍接受的觀點僅僅看作是某種意見，或者當成至少與最陌生的和最不受歡迎的觀點一樣，可能是錯誤的極端觀點。自由教育就是爲了把人從庸俗中解放出來，有一個希臘詞很巧妙地表達了‘庸俗’這個意思，他們稱之爲apeirokalia，意爲缺乏對美好事物的體驗。自由教育就是給我們提供對美好事物的體驗。"——這是算是"六經註我"的一個更好的表述了吧。