Sir Colin Davis conducts the London Symphony Orchestra
Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir
Recorded in December 2006.
Tuesday, June 11, 2013
for unto us a Tao is born
Sir Colin Davis conducts the London Symphony Orchestra
Susan Gritton, Sara Mingardo, Mark Padmore, Alastair Miles and the Tenebrae choir
Recorded in December 2006.
Friday, June 7, 2013
the Tao Book: inside information - III
INSIDE INFORMATION
We do not need a new religion or a new bible. We need a new experience—a new feeling of what it is to be "I." The lowdown (which is, of course, the secret and profound view) on life is that our normal sensation of self is a hoax or, at best, a temporary role that we are playing, or have been conned into playing—with our own tacit consent, just as every hypnotized person is basically willing to be hypnotized.
The most strongly enforced of all known taboos is the taboo against knowing who or what you really are behind the mask of your apparently separate, independent, and isolated ego. I am not thinking of Freud's barbarous Id or Unconscious as the actual reality behind the façade of personality. Freud, as we shall see, was under the influence of a nineteenth-century fashion called "reductionism," a curious need to put down human culture and intelligence by calling it a fluky by-product of blind and irrational forces. They worked very hard, then, to prove that grapes can grow on thornbushes.
As is so often the way, what we have suppressed and overlooked is something startlingly obvious. The difficulty is that it is so obvious and basic that one can hardly find the words for it. The Germans call it a Hintergedanke, an apprehension lying tacitly in the back of our minds which we cannot easily admit, even to ourselves. The sensation of "I" as a lonely and isolated center of being is so powerful and commonsensical, and so fundamental to our modes of speech and thought, to our laws and social institutions, that we cannot experience selfhood except as something superficial in the scheme of the universe. I seem to be a brief light that flashes but once in all the aeons of time—a rare, complicated, and all-too-delicate organism on the fringe of biological evolution, where the wave of life bursts into individual, sparkling, and multicolored drops that gleam for a moment only to vanish forever. Under such conditioning it seems impossible and even absurd to realize that myself does not reside in the drop alone, but in the whole surge of energy which ranges from the galaxies to the nuclear fields in my body. At this level of existence "I" am immeasurably old; my forms are infinite and their comings and goings are simply the pulses or vibrations of a single and eternal flow of energy.
The difficulty in realizing this to be so is that conceptual thinking cannot grasp it. It is as if the eyes were trying to look at themselves directly, or as if one were trying to describe the color of a mirror in terms of colors reflected in the mirror. Just as sight is something more than all things seen, the foundation or "ground" of our existence and our awareness cannot be understood in terms of things that are known. We are forced, therefore, to speak of it through myth—that is, through special metaphors, analogies, and images which say what it is like as distinct from what it is. At one extreme of its meaning, "myth" is fable, falsehood, or superstition. But at another, "myth" is a useful and fruitful image by which we make sense of life in somewhat the same way that we can explain electrical forces by comparing them with the behavior of water or air. Yet "myth," in this second sense, is not to be taken literally, just as electricity is not to be confused with air or water. Thus in using myth one must take care not to confuse image with fact, which would be like climbing up the signpost instead of following the road.
Myth, then, is the form in which I try to answer when children ask me those fundamental metaphysical questions which come so readily to their minds: "Where did the world come from?" "Why did God make the world?" "Where was I before I was born?" "Where do people go when they die?" Again and again I have found that they seem to be satisfied with a simple and very ancient story, which goes something like this:
"There was never a time when the world began, because it goes round and round like a circle, and there is no place on a circle where it begins. Look at my watch, which tells the time; it goes round, and so the world repeats itself again and again. But just as the hour-hand of the watch goes up to twelve and down to six, so, too, there is day and night, waking and sleeping, living and dying, summer and winter. You can't have any one of these without the other, because you wouldn't be able to know what black is unless you had seen it side-by-side with white, or white unless side-by-side with black."
"In the same way, there are times when the world is, and times when it isn't, for if the world went on and on without rest for ever and ever, it would get horribly tired of itself. It comes and it goes. Now you see it; now you don't. So because it doesn't get tired of itself, it always comes back again after it disappears. It's like your breath: it goes in and out, in and out, and if you try to hold it in all the time you feel terrible. It's also like the game of hide-and-seek, because it's always fun to find new ways of hiding, and to seek for someone who doesn't always hide in the same place."
"God also likes to play hide-and-seek, but because there is nothing outside God, he has no one but himself to play with. But he gets over this difficulty by pretending that he is not himself. This is his way of hiding from himself. He pretends that he is you and I and all the people in the world, all the animals, all the plants, all the rocks, and all the stars. In this way he has strange and wonderful adventures, some of which are terrible and frightening. But these are just like bad dreams, for when he wakes up they will disappear."
"Now when God plays hide and pretends that he is you and I, he does it so well that it takes him a long time to remember where and how he hid himself. But that's the whole fun of it—just what he wanted to do. He doesn't want to find himself too quickly, for that would spoil the game. That is why it is so difficult for you and me to find out that we are God in disguise, pretending not to be himself. But when the game has gone on long enough, all of us will wake up, stop pretending, and remember that we are all one single Self—the God who is all that there is and who lives for ever and ever."
"Of course, you must remember that God isn't shaped like a person. People have skins and there is always something outside our skins. If there weren't, we wouldn't know the difference between what is inside and outside our bodies. But God has no skin and no shape because there isn't any outside to him. [With a sufficiently intelligent child, I illustrate this with a Möbius strip — a ring of paper tape twisted once in such a way that it has only one side and one edge.] The inside and the outside of God are the same. And though I have been talking about God as 'he' and not 'she,' God isn't a man or a woman. I didn't say 'it' because we usually say 'it' for things that aren't alive."
"God is the Self of the world, but you can't see God for the same reason that, without a mirror, you can't see your own eyes, and you certainly can't bite your own teeth or look inside your head. Your self is that cleverly hidden because it is God hiding."
"You may ask why God sometimes hides in the form of horrible people, or pretends to be people who suffer great disease and pain. Remember, first, that he isn't really doing this to anyone but himself. Remember, too, that in almost all the stories you enjoy there have to be bad people as well as good people, for the thrill of the tale is to find out how the good people will get the better of the bad. It's the same as when we play cards. At the beginning of the game we shuffle them all into a mess, which is like the bad things in the world, but the point of the game is to put the mess into good order, and the one who does it best is the winner. Then we shuffle the cards once more and play again, and so it goes with the world."
This story, obviously mythical in form, is not given as a scientific description of the way things are. Based on the analogies of games and the drama, and using that much worn-out word "God" for the Player, the story claims only to be like the way things are. I use it just as astronomers use the image of inflating a black balloon with white spots on it for the galaxies, to explain the expanding universe. But to most children, and many adults, the myth is at once intelligible, simple, and fascinating. By contrast, so many other mythical explanations of the world are crude, tortuous, and unintelligible. But many people think that believing in the unintelligible propositions and symbols of their religions is the test of true faith. "I believe," said Tertullian of Christianity, "because it is absurd."
The most strongly enforced of all known taboos is the taboo against knowing who or what you really are behind the mask of your apparently separate, independent, and isolated ego. I am not thinking of Freud's barbarous Id or Unconscious as the actual reality behind the façade of personality. Freud, as we shall see, was under the influence of a nineteenth-century fashion called "reductionism," a curious need to put down human culture and intelligence by calling it a fluky by-product of blind and irrational forces. They worked very hard, then, to prove that grapes can grow on thornbushes.
As is so often the way, what we have suppressed and overlooked is something startlingly obvious. The difficulty is that it is so obvious and basic that one can hardly find the words for it. The Germans call it a Hintergedanke, an apprehension lying tacitly in the back of our minds which we cannot easily admit, even to ourselves. The sensation of "I" as a lonely and isolated center of being is so powerful and commonsensical, and so fundamental to our modes of speech and thought, to our laws and social institutions, that we cannot experience selfhood except as something superficial in the scheme of the universe. I seem to be a brief light that flashes but once in all the aeons of time—a rare, complicated, and all-too-delicate organism on the fringe of biological evolution, where the wave of life bursts into individual, sparkling, and multicolored drops that gleam for a moment only to vanish forever. Under such conditioning it seems impossible and even absurd to realize that myself does not reside in the drop alone, but in the whole surge of energy which ranges from the galaxies to the nuclear fields in my body. At this level of existence "I" am immeasurably old; my forms are infinite and their comings and goings are simply the pulses or vibrations of a single and eternal flow of energy.
The difficulty in realizing this to be so is that conceptual thinking cannot grasp it. It is as if the eyes were trying to look at themselves directly, or as if one were trying to describe the color of a mirror in terms of colors reflected in the mirror. Just as sight is something more than all things seen, the foundation or "ground" of our existence and our awareness cannot be understood in terms of things that are known. We are forced, therefore, to speak of it through myth—that is, through special metaphors, analogies, and images which say what it is like as distinct from what it is. At one extreme of its meaning, "myth" is fable, falsehood, or superstition. But at another, "myth" is a useful and fruitful image by which we make sense of life in somewhat the same way that we can explain electrical forces by comparing them with the behavior of water or air. Yet "myth," in this second sense, is not to be taken literally, just as electricity is not to be confused with air or water. Thus in using myth one must take care not to confuse image with fact, which would be like climbing up the signpost instead of following the road.
Myth, then, is the form in which I try to answer when children ask me those fundamental metaphysical questions which come so readily to their minds: "Where did the world come from?" "Why did God make the world?" "Where was I before I was born?" "Where do people go when they die?" Again and again I have found that they seem to be satisfied with a simple and very ancient story, which goes something like this:
"There was never a time when the world began, because it goes round and round like a circle, and there is no place on a circle where it begins. Look at my watch, which tells the time; it goes round, and so the world repeats itself again and again. But just as the hour-hand of the watch goes up to twelve and down to six, so, too, there is day and night, waking and sleeping, living and dying, summer and winter. You can't have any one of these without the other, because you wouldn't be able to know what black is unless you had seen it side-by-side with white, or white unless side-by-side with black."
"In the same way, there are times when the world is, and times when it isn't, for if the world went on and on without rest for ever and ever, it would get horribly tired of itself. It comes and it goes. Now you see it; now you don't. So because it doesn't get tired of itself, it always comes back again after it disappears. It's like your breath: it goes in and out, in and out, and if you try to hold it in all the time you feel terrible. It's also like the game of hide-and-seek, because it's always fun to find new ways of hiding, and to seek for someone who doesn't always hide in the same place."
"God also likes to play hide-and-seek, but because there is nothing outside God, he has no one but himself to play with. But he gets over this difficulty by pretending that he is not himself. This is his way of hiding from himself. He pretends that he is you and I and all the people in the world, all the animals, all the plants, all the rocks, and all the stars. In this way he has strange and wonderful adventures, some of which are terrible and frightening. But these are just like bad dreams, for when he wakes up they will disappear."
"Now when God plays hide and pretends that he is you and I, he does it so well that it takes him a long time to remember where and how he hid himself. But that's the whole fun of it—just what he wanted to do. He doesn't want to find himself too quickly, for that would spoil the game. That is why it is so difficult for you and me to find out that we are God in disguise, pretending not to be himself. But when the game has gone on long enough, all of us will wake up, stop pretending, and remember that we are all one single Self—the God who is all that there is and who lives for ever and ever."
"Of course, you must remember that God isn't shaped like a person. People have skins and there is always something outside our skins. If there weren't, we wouldn't know the difference between what is inside and outside our bodies. But God has no skin and no shape because there isn't any outside to him. [With a sufficiently intelligent child, I illustrate this with a Möbius strip — a ring of paper tape twisted once in such a way that it has only one side and one edge.] The inside and the outside of God are the same. And though I have been talking about God as 'he' and not 'she,' God isn't a man or a woman. I didn't say 'it' because we usually say 'it' for things that aren't alive."
 |
| Aion mosaic, Glyptothek Munich |
"You may ask why God sometimes hides in the form of horrible people, or pretends to be people who suffer great disease and pain. Remember, first, that he isn't really doing this to anyone but himself. Remember, too, that in almost all the stories you enjoy there have to be bad people as well as good people, for the thrill of the tale is to find out how the good people will get the better of the bad. It's the same as when we play cards. At the beginning of the game we shuffle them all into a mess, which is like the bad things in the world, but the point of the game is to put the mess into good order, and the one who does it best is the winner. Then we shuffle the cards once more and play again, and so it goes with the world."
This story, obviously mythical in form, is not given as a scientific description of the way things are. Based on the analogies of games and the drama, and using that much worn-out word "God" for the Player, the story claims only to be like the way things are. I use it just as astronomers use the image of inflating a black balloon with white spots on it for the galaxies, to explain the expanding universe. But to most children, and many adults, the myth is at once intelligible, simple, and fascinating. By contrast, so many other mythical explanations of the world are crude, tortuous, and unintelligible. But many people think that believing in the unintelligible propositions and symbols of their religions is the test of true faith. "I believe," said Tertullian of Christianity, "because it is absurd."
the Tao Book: inside information - II
climbing the E H Tao
The Nobel Prize in Physics 1965 was awarded jointly to Sin-Itiro Tomonaga, Julian Schwinger and Richard P. Feynman "for their fundamental work in quantum electrodynamics, with deep-ploughing consequences for the physics of elementary particles".
 |
| George Street (St. Andrew Square side), Edinburgh, Scotland |
 |
| The "Bible" of classical electromagnetism. |
 |
| Mount Auburn Cemetery,Cambridge, Middlesex County, Massachusetts, USA |
 |
| Tama Reien Cemetery (Fuchu City) Tokyo, Tokyo Metropolis, Japan |
 |
| Mountain View Cemetery and Mausoleum, Altadena, Los Angeles County California, USA |
Thursday, June 6, 2013
meta-Tao binaries
The next metapattern discussed by Tyler Volk and Jeff Bloom are binaries, the simplest structure to model a complex relation among elements and between parts and wholes of a system:
Background
Binaries are the simplest form of complex relations. More complex relations involve increasing numbers of components (e.g., trinaries, quaternaries, and so forth). Such binary relations are the most economical (in a variety of senses) way to generate complex wholes with significant new properties. Binaries involve senses of separation and/or unity, duality, and tension. They also provide for a synergy between parts and wholes.
 |
| The Red Square Nebula (MWC 922) is a bipolar nebula appearing as an orange square in its center with red bowl-shaped gas and dust toward the top right and bottom left of the image. The infrared image was taken using the Mt. Palomar Hale telescope in California and the Keck II Telescope on Mauna Kea in Hawaii, and released in April 2007. According to Sydney University astrophysicist Peter Tuthill, this nebula is one of the most symmetrical celestial objects ever discovered because of its unique shape. There is no clear explanation of how the central star could produce the nebula's shape, but one possible explanation is that these two outer faint radial spokes are shadows cast by periodic ripples or waves on the surface of an inner disk close to the central star. |
Examples
- In science: bilateral symmetry (including two eyes, nostrils, ears, appendages, etc.); positive and negative particles, ions, electrodes, etc.; male and female; opposing forces; diurnal and nocturnal; dorsal and ventral; space and time; acid and base; DNA with component pairs and paired helices; inhale and exhale; respiration and photosynthesis; mass and volume; high pressure; low pressure; perception as the recognition of difference; form and function; acceleration and deceleration; etc.
- In architecture and design: inside and outside and the associated dynamics between them in buildings; entrance and exit; up and down passages; etc.
- In art: light and dark; monotone and multicolored; tensions between parts; attraction and repulsion (emotionally); etc.
- In social sciences: report talk and rapport talk; leader and follower; positive and negative attitudes; consumer and producer; active and passive; aggressive; trust and distrust; unity and disunity or separation; etc.
- In other senses: distal and proximal; all or nothing; night and day; open and closed; on and off; asleep and awake; old and young; love and hate; etc.
Metapatterns
The Pattern UndergroundWednesday, June 5, 2013
Tao subsystems - VI
 |
| Robert Plutchik, Wheel of Emotions |
After extero-interoception, input processing, memory, subconscious and the processes of evaluation and decision Charles T. Tart introduces the sixth subsystem of the consciousness system, the emotions:
Subsystems
Emotions
The Emotions subsystem is one which I, as a typical overintellectualized Western academic, feel least qualified to write out. I share the intellectual's distrust of emotions as forces that distort my reasoning and are liable to lead me astray. And yet, like most people, my life and consciousness are strongly controlled by the pursuit of pleasant emotions and the avoidance of unpleasant ones.
Emotions are feelings that can be named but not easily defined. They are feelings that we call grief, fear, joy, surprise, yearning, anger, but that we define inadequately in terms of words: at best we use words to evoke memories of experiences that fit those names.
The Emotions subsystem is, in one sense, the most important subsystem, for it can exert tremendous influence. If you are experiencing the emotion of fear, it may very well control you evaluations and decisions, the memories you draw upon, how you see the world and how you act. Any strong emotion tends to constellate the rest of consciousness about it. Indeed, I think that while mild levels of any emotion can occur within the region of experiential space we call the ordinary d-SoC, most strong levels of feeling may actually constitute d-ASCs. If you talk about feeling mildly angry, somewhat angry, or extremely angry, you can imagine all these things occurring in your ordinary d-SoC. But if you speak of being enraged, the word evokes associations of changes of perception (such as "seeing red") and cognition that strongly suggest that somewhere in the anger continuum there was a quantum jump, and a d-ASC of rage developed. The same is true for other strong emotions. I shall not develop the idea further here, as strong emotional states have seldom been studied scientifically as they must be to determine if they actually constitute d-SoCs. The idea holds promise for future research.
Our culture is strongly characterized by poor volitional control over the Emotions subsystem in the ordinary d-SoC. Emotions can change with lightning rapidity; external events can induce them almost automatically. We have accepted this in a despairing way as part of the human condition, ambivalently regarding attempts to control emotions as either virtuous (since all emotions make us lose control, we should suppress them) or artificial (not "genuine"). Techniques from various spiritual disciplines indicate, however, that there can be emotional control that does not involve simple suppression or denial of content of the emotion. Don Juan, for example, stated that since becoming a "man of knowledge" he had transcended ordinary emotions, but could have any one he wished. In d-ASCs, people often report either greatly increased or decreased control over their emotions.
In addition to changes in the degree of control over emotions, the intensity of emotions themselves may also change in d-ASCs. Dissociation from or dis-identification with emotions also occurs: a person reports that an emotion is going on quite strongly within him, yet is not "his": he is not identified with it and so little affected by it.
In some d-ASCs new emotions appear, emotions that are never present in the ordinary d-SoC. These include feelings like serenity, tranquillity, and ecstasy. Because we use these words in our ordinary d-SoC we think we understand them, but those who have experienced such emotions in d-ASCs insist that we have only known the palest shadows of them.
Emotions are feelings that can be named but not easily defined. They are feelings that we call grief, fear, joy, surprise, yearning, anger, but that we define inadequately in terms of words: at best we use words to evoke memories of experiences that fit those names.
The Emotions subsystem is, in one sense, the most important subsystem, for it can exert tremendous influence. If you are experiencing the emotion of fear, it may very well control you evaluations and decisions, the memories you draw upon, how you see the world and how you act. Any strong emotion tends to constellate the rest of consciousness about it. Indeed, I think that while mild levels of any emotion can occur within the region of experiential space we call the ordinary d-SoC, most strong levels of feeling may actually constitute d-ASCs. If you talk about feeling mildly angry, somewhat angry, or extremely angry, you can imagine all these things occurring in your ordinary d-SoC. But if you speak of being enraged, the word evokes associations of changes of perception (such as "seeing red") and cognition that strongly suggest that somewhere in the anger continuum there was a quantum jump, and a d-ASC of rage developed. The same is true for other strong emotions. I shall not develop the idea further here, as strong emotional states have seldom been studied scientifically as they must be to determine if they actually constitute d-SoCs. The idea holds promise for future research.
Our culture is strongly characterized by poor volitional control over the Emotions subsystem in the ordinary d-SoC. Emotions can change with lightning rapidity; external events can induce them almost automatically. We have accepted this in a despairing way as part of the human condition, ambivalently regarding attempts to control emotions as either virtuous (since all emotions make us lose control, we should suppress them) or artificial (not "genuine"). Techniques from various spiritual disciplines indicate, however, that there can be emotional control that does not involve simple suppression or denial of content of the emotion. Don Juan, for example, stated that since becoming a "man of knowledge" he had transcended ordinary emotions, but could have any one he wished. In d-ASCs, people often report either greatly increased or decreased control over their emotions.
In addition to changes in the degree of control over emotions, the intensity of emotions themselves may also change in d-ASCs. Dissociation from or dis-identification with emotions also occurs: a person reports that an emotion is going on quite strongly within him, yet is not "his": he is not identified with it and so little affected by it.
In some d-ASCs new emotions appear, emotions that are never present in the ordinary d-SoC. These include feelings like serenity, tranquillity, and ecstasy. Because we use these words in our ordinary d-SoC we think we understand them, but those who have experienced such emotions in d-ASCs insist that we have only known the palest shadows of them.
Tao subsystems - V
Wednesday, May 29, 2013
Tao party
 |
| Golders Green Crematorium, Golders Green, Greater London, England The ashes are buried under a rosebush, plot #39802. The rosebed is located at the far end of the crematorium complex, next to the Chapel of Memory columbarium. |
Subscribe to:
Posts (Atom)
Posts
