Certainly, what Kant calls the transcendental reference, experience and object of experience are in a sense present in both opposed views of the nature of the subjective *a-priori*. In both cases the object must 'order itself' according to the rules of the knowing mind or its functions, irrespective of whether the specific function of cognition is based on a systematic construction, synthetization, formation of the object from 'given' sensational material or on a methodical selection-process (suppression, abstraction, disregard) imposed on a self-constituting object. For if the order of selection in which the fulness of the world, as it is in ipseity, reaches man (or a particular kind of man, e.g., a type of racial or cultural unity) is so governed that an object of essence *B* is only given when an object of essence *A* has already been given (if, that is to say, *A* has datum-priority over *B* in order of time―not necessarily in direct succession), then if an object *X* is simultaneously of essence *A* and *B*, everything which is true of *A* must necessarily be true of *X*―not vice versa. For example, if spatiality and extensity have strict perceptual priority over all essential properties of matter and corporeality, geometry must be strictly valid for all possible bodies. But the same principle, the applicability of geometry to all bodies without exception, would still hold good if Kant's doctrine were true―though it denies the very reality of extension and space, and explains the spatial form as merely a subjective aspect of the datum. Thus in both cases the transcendental validity of the so-called *a-priori*, even for the objects of experience, would persist, so that in itself it offers us *no* criterion of choice between one or other *hypothesis*―that which supposes a synthetic addition of the form on the part of the spontaneous mind, or the other, which postulates an ordered selection in conformity with foreknown essences." ―from_On the Eternal in Man_. The Nature of Philosophy, with a new introduction by Graham McAleer
Transcendental artists are messengers. Their symbolic vocabulary originates from the infinite wisdom of higher spheres, in a non-referential time/space continuum... the way of the shaman. The presence of glyphs speaks a universal language of the soulthat transcends words. If one considers the notion of parallel realities and the plurality of dimensional realms, the premise of art as "consciousness-provoking vessel" can be viewed as an organic and natural occurrence.
I need to say something. Take it anyway you like,” Ian stated, his eyes boring into hers with a fervor that left her holding her breath.Elaine started to shake her head. “Look, we just met…you don’t need to say…”His deep, cultured voice interrupted her. “Everything you are, Laney, resides in your eyes. I need to see you—all of you. Don’t take that from me while I’m still here. Please.”Tears welled. “You don’t even know me,” she whispered. “How can you say that?”“Because I think I do know you—I just haven’t figured out how.
What we share between us is powerful. It consumes and burns brightly, love. When we—if we—consummate this relationship, I want us to be thinking clearly. Most importantly, I want you to be strong. Healthy. I want you to be whole. I wish that for you—in every second of your life—whether you choose to stay or go—that you be you again…that your heart…and your body heal. You’ve survived much, Laney. Let us not forget your journey leading to this place in time.
Various fascinating psychological elements are involved in the transcendental state of human consciousness. One may lose the ability to distinguish one’s self from the rest of the world in transcendence, but still it is the human brain that constructs that state of mind. Hence, even in that altered state of consciousness one is not totally devoid of one’s beliefs, conjectures, ideas and fantasies. In fact, these ideas fill up the transcendental experience with all kinds of fanatic stories that happen to be unique, based on the person’s inner urges and drives.