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Friday, March 29, 2002

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  • Gloria Lee
    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
    Message 1 of 1 , Mar 30, 2002
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      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

      Search all Editions of the Nondual Highlights http://nonduality.com/searchhl.htm
      Nondual Highlights Home Page http://nonduality.com/hlhome.htm
      Contact http://nonduality.com/contact.htm

      __________________________________________________________________________

      [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.


      JERRY KATZ

      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.
      Italian tomatoes.
      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.
      Food.
      ________________________________________ __________________

      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.


      NINA MURRELL-KISNER

      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?

      . . .

      Sometimes.

       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

      http://www.barryvacker.net/twintowers.html


      NINA MURRELL-KISNER

      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.

      Huh!

      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.


      BOBBY GRAHAM

      from Nonduality Salon

      Dear Nina:

      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
      apparent. 

      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:]

      http://www.harshasatsangh.com/MagazineV2/BobbyPaintings.htm



      SU GANDOLF

      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.


      NINA

      from Nonduality Salon

      Remarkable! I have heard from many people of such experiences at
      Bumbershoot.

      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
      to do?

      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.

      dancer/skater image


      MICHAEL READ

      from Nonduality Salon


      http://www.loc.gov/folklife/vets/sights.html

      today we are still at war, despite the efforts of good people like
      these.

      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



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