Geometric digressions or the space of the unconscious

The fear of the penetration and revelation of our unconscious and the knowledge about the fact that all what we perceive and hear beyond the daily screenings leads us often to ignore the possibility, which the "homo consumens" has, to deal with and resolve the troubles and the anxieties of a life, developed in a society, that imposes even the consume of emotions, often obsessiving, and that limits the undispensable and important space for the rediscovery of the authentic language, which is silent, but the expression of the emotional intelligence and the unconscious.
The drawing or the painting get symbols able to tell or to reveal this silent language; it´s sufficient to learn and interprete those codes, produced by ourselves (even if they are presenting themselves in an analogical form, what doesn´t mean consequently that it has to be less real) in order to discover our authentic role towards ourselves and towards the world that surrounds us.
The geometric digressions, deviations of the main argument of our question, want to create an atmosphere of waiting in order to study in depth the historical image, where the action is placed to introduce the reflection, which will help us to interprete the unconscious language and which will bring us to the discovery of our "ego".
There are persons, who prefer geometric forms, because the rational part of their brain is more developed. The neurophysiology attributes this predilection to a major prevalence of the left brain hemisphere, so that the reproduction of cubes, circles, squares and other geometric formes (beyond the first reading, where emerges the need to reorganize the existence, to find the answer "why", and express certainties about the logical plan), offers us the possibility to read in a more in - depth way, to dig in the unconscious. These representations are characterized by signs and chromaticisms, which represent us deeply.
The graphology offers a precious interpretation of the signs and of all geometric figures, from the circle to the cone and last but not least to the cube. The circle is the symbol of the femininity and the welcome, willingness for socialization. The cone that includes the circle, but ends in a point, recalls conflicts and agressivity in the social relationships, even if it is being predisposed positively for those who are reflecting the existential problems between willingness of the dialogue and fear of the interlocutors. The cube shows the hermetic closing of the it, nearly a screening with the surroundig world; it results extremely interesting like the graphology is able to reveal us, analyzing the infinite forms, which we can give to our geometric signs, all that what our unconscious lives in the moment in which it produces the representation, beyond all the cultural superstructures, that dominate and determinate our certainties or positions we consider like certainties.
The space constructions, where a lots of figures interfere and other constitutive elements of the complete imagine, for example the chromaticisms, offer to the survey of the same contribution, that the colours represent with their fondamental symbolic language.
The geometric digressions represent the man and the occidental societies transformed in closed systems like a product of the hypertechnological-scientific culture that has been substituted by the concept of the Trascendence that for centuries has enslaved the humanity with a technology that the won't miss any more up to the point that we' ve got progressively slaves of it.
Bacone declared "Scientia est potentia" and today the power is concentrated in the competence, which is the essential quality why we can talk about science and consequently even about technical applications that become our environment, where we close ourselves and where we want to enjoy their efficiency and their functionality up to produce deliriums of allpower, that now is threatening the existence of us ans our mother Earth.
Enclosed systems, autoreferentials, forced to co-exist and to be in relation with other systems, all of them deprived of the empathy in favour of the capture of power, aimed to the own system, most of all camouflaged in the dialectical speculation of values, that belong to the story of man and which have no more behavioural reference.
Values like affection, delicacy, the cohesision of the microcells or the family nucleus, the disposition of the social, are still present, even if only in a gradual way, but they are in constant transformation, because they' re introduced in the great media stage where the old rhetorics are substituted by scripts of theatrical representation. It's taking control of us, suffocating our spontanity and imposing models of identification which aim to standardize us, in order to substitute those certainties, nourishment of an ego more and more declassed to be a product, that can be hunted easily.. 
But even disvalues like the aggressiveness in place of the dialogue, the progressive dispersonalization, that produces the exaggeration of egocentricity, the increasing fear of justice without a face, but pressing as a consequence of the decreasing self confidence, the silences like platforms for the dialogue, the neurotic research of ephemeral felicity, analgesic of the increasing fear, are present and point out the future of Man in a threatening way.
An imperceptible prison, but perceived, lost in space and time, suffocating like a gas, is engulfing a species that has replaced the lost of their instincts with the presumption of the cultural superstructures.
The evolution of mankind has gone through a lots of epochs, today we live in the epoch of the depression, the mental dissociation, of the disidentity.
How will it be tomorrow!