Friday, March 29, 2002
- The Nondual Highlights
The Best of the Internet's Nonduality Email Lists, Forums, Websites, and More
Issue #1024 Friday, March 29, 2002
Today's Highlights Compiled, Edited, and Designed
by Gloria Lee
[Those who read from the web will need to open the pictures as attachments.]
Holy Week in Spain
Surrounded by penitents wearing the traditional pointed hoods and cloaks, a woman waits to start the procession of the Santa Genoveva brotherhood in the southern Spanish city of Seville on March 25. Processions through central Seville take place around the clock during the week before Easter, drawing thousands of visitors.
from Live Journal: http://www.livejournal.com/users/awesboss
Do you think the sun will get warm, Bobo?
I don't want it to be cold all day.
We would have to leave early.
Bobo, are the shops on the boardwalk opening?
Bobo, look, dolphins.
Oh, look, they're swimming away.
Can you see them, Bobo?
Oh, they're coming back.
Bobo, look at my pinkies.
Why are they called pinkies?
Can you tell by looking at them, Bobo?
Did you walk north or south, Bobo?
The north looks dark.
The south looks warm and light.
Tell me where you walked, Bobo.
Is it time for more sunblock, Bobo?
I don't want to get burned.
Tell me if I'm burned.
I'll wait until I start to burn, Bobo.
I like big ice cubes, Bobo.
They don't melt fast.
I can hear them.
Bobo, bring me some more ice.
That was a good lunch.
Run toward the sun, Bobo,
And wave to it.
Bobo, has that man caught any fish?
I'd like to see him catch a fish.
Fish is food, Bobo.
The waves are getting big, Bobo.
I wouldn't want to be out there.
Go out to the waves, Bobo.
I'll watch you ride them.
I don't want to leave.
Even though it's dusk and some cars have their headlights on.
I like the sand flowing through my fingers.
from Nonduality Salon
Another's contribution> -------------Higher and higher, faster and faster
Another metaphor for what is happening:
. . .
This is a funny thing about practicing architecture. One takes a piece of oneself and puts it on the outside, and then¡ it is in-habited.
It could be said that we all practice architecture, practice putting form ¡®out there¡¯. The iterative process of this not that.
Form is static. All those pieces of self on the outside are static. We, as in-habit ants of architecture, do we in-habit the past? Or does the past, built form, in-habit us? Or?
. . .
Once manifested, form is static.
So, what do we do with such form? In-habit it. Form, born of a projection from the mind of the practicer, put in place. Form, now the domain of the in-habitant, projected upon. Form, in-formed by the in-habitant.
(Once manifested, form is malleable, but only in how we read it.)
. . .
Static and malleable, at the same time.
This is a funny thing about architectural history(ing). One takes a stand, joins the Cult of the Original, throwing off the dusty forms and failures of the fathers, puts faith in progress and the belief in the new, envisioning the ideal future¡ but what does one stand upon? The shoulders of giants.
One may deny the past, but does this make it disappear?
. . .
This is a subtext of modernism, an impulse of Modern Architecture. Le Corbusier proposed to demolish a great swath of Paris to install a new city of glass towers, green spaces, wide roadways, flightpads, etc. as a means to emancipate Parisians from the dirty old city. As if on cue, the bombs of World War II laid flat large portions of many European cities. Ironically, Modern Architecture, itself, was not immune to the wrecking ball, as symbolized by the destruction of the Pruitt-Igoe housing complex. Ironically, modernism may be attacked in similar ways ¨C through the destruction of representative form, such as the Twin Towers.
Tabula Rasa. Tear it down, build anew. Creation made possible through destruction.
. . .
But then it resurfaces¡
Disneyland. Las Vegas. Celebration, USA. Lest one think this is a purely American endeavor, the recreation of a past that perhaps never was, check out practically any city that relies on tourism as a mainstay of economic sustenance.
The building of new form to replicate the old form that never was.
. . .
What is this old form, and can it ever really be destroyed?
Remember those giants that keep eating assuming the products of their children.
Truly, it weighs like an ever-expanding nightmare on the brains of the living.
. . .
But forget the past.
What about the future?
What is the speed of architecture?
. . .
More, perhaps, later.
addendum Re: musings on architectural form
on Nonduality Salon
Jan Sultan wrote:
Non-duality and duality exist together in the same way as white
light and its hidden rainbow colors exist together.
This statement prompted me to look around at the 'white light', what
is it, anyway, except something I register once it hits something. I
can't see it, nope, I look for it and just see the stuff beyond it,
no, what is left of it when it reflects from something into my eyes.
No form without light, you know. No light without form?
This trying to grasp white light reminds me of another incident, one
that altered my color perception of the world around me, one that
deals directly with the reflectance of light.
I had been on an intense charette over the Thanksgiving Holidays,
prior to the final presentation of a project. I had decided on
colored pencil renderings for the presentation, so most of my waking
hours were given over to intense scrutiny of shade, shadow, and
color. Attention to the gradations of shadow, darker towards the
edges, enhanced contrast with the non-shadow beyond, application of
the correct complementary color of the surface shadowed, working down
from general building mass shadows to the shadows within brick mortar
joints and along window mullions. Everything done with fewer than 5
colors upon sepia paper. Layer upon layer of colored pencil until
finally, the sheets seemed to have vibrant liquid depth. I was
astounded when I was finished, stood transfixed, looking into the
drawings, hands still compelled to draw, hands still feeling as
though they were drawing!
(Spend long enough looking at something, and that's all you'll be
able to look at. Ever notice how when someone is presented with a
photograph that includes themselves, their eyes will move to the
image they recognize as their own? <Unless they have no self-
identification.> There is a similar phenom that happens with
architectural drawings put up for presentation. If you don't look,
you'll at least feel the tug of wanting to look. To agonize
<positively as well as negatively> over them, relive them, reconnect
with the process of making them, to reanswer all the questions you
imagine may be asked, to re-act to all the challenges that may be
raised. This is what we do with our products.)
At any rate, the state of perception alteration surfaced a day or so
later, as I was roadtripping back to school with a friend of mine,
who fortunately happened to be driving. I was daydreaming, staring
out at the fields and road as they floated by, and happened to notice
that there were shadows out there. Bingo.
Suddenly, the landscape appeared as pixelated color, very discernable
areas of color, the sum visual mix of the tinier pixels of color.
Laid over this, shadows, but not just in the 'light dark' sense,
rather, in the 'yellow purple' and 'yellow red-blue' sense,
variegated in saturation. The life of light! Edges, gradations,
waves, like liquid poured out across the landscape. They weren't
simply grey 'non lighted areas', they were colored translucent
sheaths pulled to the edge of the sun's rays, colored skins that
interacted with the surfaces beneath them, such as the blades of
grass on the shaded sides of hills, revealing ever finer layers of
shade and shadow at play with ever smaller colored surfaces.
Of course, this isn't truth: shade, shadow, color, and light (and
even that substrate, form) aren't necessarily these things. In fact,
they have appeared as different things to even me at different times,
depending on where I have directed my concentration.
from Nonduality Salon
Color harmony is indeed an interesting subject, at least for me. I
read Gurdjieff and Ouspensky years ago and they had much to say about
sound harmonics and universal energies based on the octave. They
didn't speak of it as subjective but an observable and repeatable
experience. I tend toward believing color harmony to be the same.
Part of what I have done for about 30 years is teach color perception
to would be artists. The additional color required to produce
harmony is not always perceived with the eye but the heart.
Color harmony, melody, symphony is a right brain perception and
should be viewed many times to be appreciated. I think people block
color as a matter of course when looking. To actually see the light
as opposed to the object illuminated, is the main trick. If you look
at the entire scene without focusing on one color the light becomes
Survival gives the ability to differentiate and to particularize but
to appreciate one must relate.
[Editor's note: A gallery of paintings by Bobby Graham illustrating color harmony may be seen here:]
from Nonduality Salon list
I worked at Bumbershoot one year, selling t-shirts. Fringe benefit
was free admission to all the shows. One night I wandered alone into
the large, comfortable, indoor theatre where the Branford Marsalis
Trio was playing. Only seat available was in the first row. I can't
describe the experience I had at this show. I kept saying afterward
that it was like how I imagined heroin is, after it's stopped making
you sick and before you need it just to maintain. These folks (bass,
percussion and baritone sax, if I remember correctly) took me on such
a journey... time disappeared, only the sheerest pleasure and
listening were there in the silence and the notes. Such playing! I've
not found a recording of theirs that's captured the music of that
night. Since then, there's been a place in my heart marked for the
Bumbershoot arts festival. For me, a (then) transplant from New York
City, the crowd was like life itself, only better, because safe and
happy. Another year, I threw things and yelled at my crazy arts-
college-mate (a punked-out David Arquette-type I had a big ol' crush
on) in mock disgust, as I came across him doing some whacked-out punk
performance art not officially sanctioned by the festival. I have
also laughed until I cried at a comedy show there, and bonded with a
buddy over the voice of Bonnie Raitt. A "power place"? Well, I've
never been to Ikea.
from Nonduality Salon
Remarkable! I have heard from many people of such experiences at
For me, it was during a performance of a local dance group. One of
the dancers had prepared a performance with Jimmy Hendrix' Purple
Haze, but found out just before B'shoot that his family had decided
to pull the plug on their right to use it because of the squabble
they were having with Paul Allen over the Hendrix stuff he wanted to
use in the Experience Music Project. So, the show must go on - what
She performed the dance with no music, alone on the stage with every
breath, touch and landing amplified out across the audience. It was
the rawest performance I have ever seen. The intimacy with her body
was extreme in that silence and brought some to tears.
from Nonduality Salon
today we are still at war, despite the efforts of good people like
there is strife within us. it has been in our nature since before the
times of myth and legend. we have the vital instinct for sensing
danger. to have survived in this one eats the other world our species
had to have had a keen set of senses. and, an awareness of when it was
on the menu.
though we no longer run from lions and tigers and bears with the
frequency we used to, we know we live in a still dangerous world.
globally, the tally of death by vehicular mishap far outweighs all the
deaths from all the wars of the last century.
all those wars to stop aggression. yet, you know the scene. you get
the news. you know what's shaking.
war war go away
let the children out to play
oh, and by the way, the illusion and the reality are one in the same.
now, don't argue.
after all i am
The Only Truly Enlightened Being In The Entire Universe
loveya - michael