Sketch
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Everything posted by Sketch
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What are your tradition's safeguards against self-delusion or being deluded by others?
Sketch replied to Wilhelm's topic in General Discussion
There's no way to know the people These idealized figures are based on. As idealized figures, they are representations of the things they are used To represent, with all of the super powers and prophesied things They are depicted with. The inside is a mystery The outside is a different mystery Telling the two things apart Is the mystery to solve -
What are your tradition's safeguards against self-delusion or being deluded by others?
Sketch replied to Wilhelm's topic in General Discussion
These are all figures used as representations of desirable states and achievements. So...all of them. -
Had no idea what this was. I'd felt sort of gaslit all my young life. Put this in the eight track player of Mom's car and everything I did after that was different than everything before that. Anything else was to justify something I understood in the first seconds of this.
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What are your tradition's safeguards against self-delusion or being deluded by others?
Sketch replied to Wilhelm's topic in General Discussion
I check in with my wife To ask whether I'm getting too weird. Her response is along the lines That my cooking has gotten Better And that I was plenty weird When we met. -
Two things for sure after two days with the new approach to voice work. Very thirsty. And movement warmup and down is even more of a thing.
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It would also be normal for me, at this time of year, to be running scales, doing vocal exercises, recording and so on. I've rearranged my practices, as opposed to starting from reading a definition of "gong". As likely as not, this includes bad practice habits. I have injuries left over from a youthful tendency to over train, for example.
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The rotation from the base was a passing stage, getting used to sitting. Lots of weird little things have come and gone, trickling and buzzing and whatnot.
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Qi gong stances and warm up, tai chi and some general exercise. The floor work drawing on Emilie Conrad's book will involve movement as I relax into that.
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Yes, my practice has been built around sitting, standing and lying down. I'm currently adding another set of of lying prone and using sound techniques I'm developing from Emilie Conrad's "Life On Land ".
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Yes, that would be the word for a lot of the effects I've experienced.
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That's the way to drive me nuts. New book? Old book? Green cover? ( if it's by Valerie Hunt a copy may be on the way here) There is, in the suite of movements, a horizontal set I'm associating with the location of Dai Mai.
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A lot of my observations are leading to explanations that are markers of how it looks from here, from this point in my practices. The various rotating points of perception are there when I get there but very subject to influence. The first rotation I "logged" (about a year ago?) was a sort of conical movement from my base during seated meditation; a symptom of early stages of opening up and unclenching. At this point in the inquiry, I'm attributing the various "internal wheels" to involve an organized perception of various internal pulses. The energy of these pulses travels along the aortic line, which, to some degree, I am associating with the chong mai. (At least as a temporary place holder)
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the article i found this in absolutely fails to get that liquid carries resonance. No understanding of acoustic phenomena and talking only about the resonant possibilities of the "hard" mechanical parts and the damping factor of the "bag of wet meat"
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I was afraid this guy would crush my head. In his hands.
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Perhaps my finest moment came while I was working the door at a neighborhood tap room on a busy Friday night. The door was eclipsed by an absolute cave troll. Huge, drunk and sneering directly into my face as I asked for id. He started to shove past, I stood my ground...pretty much the whole job. We stood there, all Eastwood eying each other. He informed me of his intention to enter; i informed him that would not happen. The whole thing dragged on, pokes and puffing. Then, he turned and walked away. I puffed up a bit more and turned around to preen at the bar. Everyone in the room was standing behind me, had been joining the line since early in the confrontation. I had no idea...my eyes never left the cave troll. I washed the adrenaline down and basked in the glow of barroom love.
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Finished reading Emilie Conrad's "Life On Land". It was very much a book I needed at this time; the approach to movement, healing and sound illuminated my current practices and gave me ideas about my future explorations. Much as I recoil to say it, this book has given me not only a direction of inquiry - but also permission to move in the direction I was going in anyway. Anything I'd seen on the "Taoist Healing Sounds" or on the physics of the word "Om" in the past failed to penetrate my mind; worse are tables of correspondences with musical note names right next to colors, gods, letters ... (looking at you, Aleister.) A more contemporary understanding of resonance phenomena brings the concepts home for me. Beautifully written, the book unfolds, revealing science as poetry and poetry as science. Deep empathy flows from deep experiences. A rich contemplation of our liquid nature.
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I realized years ago that my first impulse is generally correct. If I twist around and decide, it just wastes energy.
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All of the ones that work properly.
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I quite like this. The organs, the mind, the juicyness follows the pulsing into frozen paralysis, flight, combat or whatever else.
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Rory Miller, in his writings on violence and situational awareness, talks about fear a lot. A person can be a trained fighter, experienced at hand to hand- and go weak in the belly when blades come out. And every possible variation- a brave person can still fear heights. Finn the Human fears the sea.
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So many examples of this, in every direction, I can see from my own lifetime.
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In fact, my dad and I watching action movies brings it back to the topic; my dad's company was in a competitive position in relation to the Japanese steel industry in the sixties, so I heard a few anti Asian statements at the dinner table. Sharing Kurosawa in the eighties gave us an opportunity to talk through a lot of that. A father is in a precarious position, with fears the child cannot understand. Man he would have loved "Lone Wolf and Cub "
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