#impermanence — Public Fediverse posts

Due to its impermanence, there is nothing in this world truly worth doing, except working to escape.

(According to Buddhism, neither salvation by a deity nor physical death/suicide is an escape from rebirth. Meditation is the only escape.)

#buddhism #impermanence #value #worth #meaning #purpose #substance #essence #salvation #liberation #deity #god #death #rebirth #reincarnation #meditation

The whole 'room' of awareness is an impermanent mental fabrication -- both your perceived self and your perceived environment. Like a dream, it's a packaged self-world which either all appears together or all disappears together.

#buddhism #mind #awareness #consciousness #impermanence #fabrication #construction #hallucination #perception #duality #dream #dreaming

The whole 'room' of awareness is an impermanent mental fabrication -- both your perceived self and your perceived environment. Like a dream, it's a packaged self-world which either all appears together or all disappears together.

#buddhism #mind #awareness #consciousness #impermanence #fabrication #construction #hallucination #perception #duality #dream #dreaming

The whole 'room' of awareness is an impermanent mental fabrication -- both your perceived self and your perceived environment. Like a dream, it's a packaged self-world which either all appears together or all disappears together.

#buddhism #mind #awareness #consciousness #impermanence #fabrication #construction #hallucination #perception #duality #dream #dreaming

The whole 'room' of awareness is an impermanent mental fabrication -- both your perceived self and your perceived environment. Like a dream, it's a packaged self-world which either all appears together or all disappears together.

#buddhism #mind #awareness #consciousness #impermanence #fabrication #construction #hallucination #perception #duality #dream #dreaming

The whole 'room' of awareness is an impermanent mental fabrication -- both your perceived self and your perceived environment. Like a dream, it's a packaged self-world which either all appears together or all disappears together.

#buddhism #mind #awareness #consciousness #impermanence #fabrication #construction #hallucination #perception #duality #dream #dreaming

“Ab Tak To Jo Bhi Dost Mile, Bewafa Mile”: Why Wafa Is So Rare Among Us

Claude, comment on the line “ab tak to jo bhi dost mile, bewafa mile” from the song https://www.youtube.com/watch?v=7I4nSYHL-cQ in the movie Nikaah, the full lyrics here – https://gaana.com/lyrics/dil-ki-yeh-arzoo-thi-6 (I am not saying anyone has been bewafa towards me, and it is more likely that one or two people might actually accuse me of being bewafa towards them or towards life in general, but bewafa people are more common than one would want, so what does that say about us human beings and why we are NOT wafadaar or what prevents us from being wafadaar):

Claude:

What a line to sit with. On its face it’s pure ghazal convention — the aashiq’s résumé of wounds presented to the new beloved — but Hasan Kamal does something subtle in it. Notice that the moment the dilruba arrives, the entire past gets retroactively rewritten: ab tak to jo bhi dost mile, bewafa mile. This is psychologically very sharp. New love doesn’t just illuminate the present; it recolors history. Friends who were perhaps only ordinarily limited, ordinarily busy, ordinarily human, are now reclassified as bewafa because the singer has finally tasted (or anticipates) something that makes everything prior look like counterfeit currency. So part of the answer to your question is hiding in the line itself: bewafai is often a verdict rendered by disappointed expectation rather than a description of betrayal. The accuser’s hopes, not the accused’s promises, are frequently the real contract — and it was a contract only one party signed.

But your deeper question stands: granting that genuine faithlessness is common, why? I’d offer three layers.

The first is almost mechanical: wafa is a promise made by one configuration of desire that attempts to bind all future configurations. But we are not continuous; we are, as you’d put it, a flux of nāma-rūpa wearing a proper name. The man who swore friendship at thirty is only nominally the man at fifty whose circumstances, needs, and attention have all migrated elsewhere. Bewafai is less often malice than impermanence — anitya operating through personality. We promise as if we were permanent, and then anicca collects its tax. The bewafa person rarely experiences himself as betraying anything; he experiences himself as having changed, which feels innocent from the inside and treacherous from the outside.

The second layer is that most human bonds are quietly transactional — need-shaped — and wafa is only tested when it begins to cost something. La Rochefoucauld’s acid observation that gratitude is mostly a lively expectation of future favors applies to friendship too. When the need dissolves, or the cost appears, the bond thins, and we discover that what we called dosti was proximity plus utility plus pleasant feeling. Real wafa requires loving the person rather than the gratification the person supplies — and that’s rare because it requires a degree of self-forgetting most of us can’t sustain. Ghalib, characteristically, put fidelity above even correct religion: wafādārī ba-shart-e-ustuvārī asl-e-īmāñ hai — steadfast faithfulness is the very essence of faith, bury the brahmin in the Kaaba if he died true to his idol-house. He understood that wafa is not about the object; it’s about the integrity of the one who keeps it. Which is exactly why it’s scarce: it’s a discipline of self, not a warmth of feeling.

The third layer touches what you said about yourself — that one or two people might accuse you of bewafai, toward them or toward life. This is the renunciant’s ancient predicament. Fidelity is always fidelity to something, and when a person’s deepest wafa is to truth, or to the Self, it will periodically look like bewafai to persons and to worldly life. Ramana walking out of Madurai at sixteen was, in his mother’s ledger, a spectacular act of bewafai. The world calls it desertion; the tradition calls it vairāgya. The two accounts are not reconcilable at their own level — only at the level where one sees that being wafadaar to the ephemeral at the expense of the real is the deeper betrayal. Though I’d add, honestly, that this framing can also become a convenient shelter, and the accused should occasionally audit whether his fidelity to truth was ever used as an alibi for ordinary avoidance. You’ve invited that kind of scrutiny before, so I’ll leave the question with you rather than answer it for you.

As for the song’s own emotional logic — the fear in lagta hai darr fareb-e-bewafa se kabhi kabhi is the truest moment in it. Having been burnt, the singer doesn’t stop desiring; he desires while flinching. That’s most of humanity’s condition: not bewafa by nature, but so afraid of receiving bewafai that we withhold the very steadfastness we demand, each waiting for the other to be wafadaar first. The scarcity is partly a coordination failure of frightened hearts.

The Self

https://ridiculousbharath.wordpress.com/2026/05/12/the-self/

THRÆDS – Impermanence Review

By Owlswald

Adding to my list of bands with irregular monikers, German progressive post-metal/rock group THRÆDS (pronounced “Threads”) is the latest to fall under the scrutiny of my wide-eyed gaze. Formed in 2019 as a solo project by guitarist Angelos Tzamtzis, THRÆDS has since grown into a multi-national five-piece.1 Their 2021 Akasha EP garnered the attention of Octopus Rising—an imprint of Argonauta Records—which is now releasing their debut full-length, Impermanence. The promotional material for this Berlin-based quintet bills itself as a seamless blend of progressive post-metal alongside atmospheric rock, claiming to fuse the sounds of giants like Gojira, Tool, and Porcupine Tree into a diverse and unique style. Call me cynical, but whenever descriptions throw about such high-caliber names, the reality seldom matches the hype. And, unfortunately, THRÆDS proves to be no exception.

A pervasive sense of familiarity permeates Impermanence’s forty-eight minutes. While “Devolve” delivers a half-time L’Enfant Sauvage stomp with Gojira’s trademark pitch shifts and tracks like “Einstein-Rosen Bridge” and “Clockworks” evoke some of the moody melancholia of Porcupine Tree or Katatonia, THRÆDS ultimately leans too heavily on well-trodden modern rock crutches to convey their moods and textures. As a result, the material on Impermanence is largely standard and unremarkable, offering little in the way of presence or impact. Chuggy palm-muted guitar riffs, delay-heavy arpeggios and gallant distorted chord strumming drive Impermanence during its drawn-out instrumental sections. Celso Borralho’s vocals dither between solemn whines (“Sole Survivor”), gravelly Chester Bennington-esque frys (“Reflections”), and high, soulful croons (“Nothing Good to Say”). While these hint at Borralho’s considerable range, they generally also fall short of his full potential. Despite the self-produced effort registering a mighty DR 10 and Barnabás Mihály’s playful basslines providing some much-needed aptitude, Impermanence exhibits a vanilla disposition with little novelty or energy.

THRÆDS relies on familiar modern rock clichés to drive their songwriting. Rock anthem “Reflections,” with its big, sing-along chorus and radio-ready polish is well-composed but employs repetitive chord progressions and melodic structures a myriad of modern rock groups have used a million times over. Similarly, “Sole Survivor” and “Timeless” lack novelty with formulaic compositions that contrast quiet, delay-saturated post-rock verses with heavier down-tuned choruses filled with garden-variety guitar riffs, foundational rock beats, and cornerstone vocal belting. Borralho frequently toys between his high and low registers, sounding unassured and whiny rather than passionate and introspective as his voice warbles above the melodies. His range and high register are his greatest strengths, yet he seldom leans into them with enough conviction to improve THRÆDS’ simplistic approach. Compounding matters is the sheer length of Impermanence’s songs as “Devolve,” “Timeless,” and “Reflections” all clear six minutes while closer “Story in Reverse” pushes eight, primarily to accommodate Alegros Gramma’s sax solo. Even the shorter “Einstein-Rosen Bridge” contributes to Impermanence’s sense of bloat, stretching thin ideas into wandering Maserati-like post-rock.

Predictably, Impermanence’s stronger moments appear when THRÆDS trim the fat and venture outside of well-trodden tropes. A prime example is the solemn “Nothing Good to Say,” where the quintet crafts a condensed, cohesive, and engaging offering with Borralho’s high, soulful croons floating above playful drum and bass grooves, all enveloped by an eerie, atmospheric feel. Mihály’s bass performance is noteworthy, driving a deep pocket with his rhythmic pulses while capably utilizing space with high-scale runs that explore the full range of his fretboard. Likewise, the chorus in “Story in Reverse” and the verse in “Einstein-Rosen Bridge” point to a more favorable stylistic direction, as THRÆDS momentarily recalls the grunge-saturated sounds of Alice in Chains amid stretches of otherwise tedious material.

From start to finish, Impermanence struggles to find its footing, delivering an unremarkable collection of songs that is more often bland and forgettable than original and engaging. Displaying brief flashes of promise, THRÆDS defaults to the comfort of well-worn rock sounds, resulting in an overly long debut that lacks the confidence one would expect from a group aspiring to stand alongside the giants it name-drops. Ultimately, Impermanence rings hollow, forcing progressive and post-metal fans to look elsewhere for novelty and imagination.

Rating: Disappointing
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: thraeds.bandcamp.com | facebook.com/threads.project | instagram.com/thraeds.band/
Releases Worldwide: June 6, 2025

Show 1 footnote

1. Members originate from Chile, Greece, Hungary, New Zealand, and Portugal. ↩

#20 #2025 #AliceInChains #ArgonautaRecords #GermanMetal #Gojira #HardRock #impermanence #Jun25 #Katatonia #Maserati #MelodicMetal #OctopusRisingRecords #PorcupineTree #PostMetal #ProgressiveRock #Review #Reviews #Rock #THRÆDS #Tool

Nothing is forever except change - The Buddha

Explore the beauty of decay in my Broken Buddhas series:

http://www.deanharte.com/broken-buddhas

#impermanence #buddha #buddhism #brokenbuddha #buyintoart #decay #buddhaart #buddhawisdom #zen #meditation