“THERE’S NOTHING OUT THERE”; NEW RELEASE BY WILSON BROS/SHRINK WRAP

 

Photograph by Eric Kuniholm and Jane Mushinsky

Embedded in this new tune, one of the voices says ” Your mind can’t understand this, but see if you can get a feeling: You’re not separate from everything…..  There’s nothing out there.”  So the title of the tune is “There’s Nothing Out There”.  See what feelings arise as you listen to the music and as you look at the accompanying photo submitted Eric Kuniholm and Jane Mushinsky.

Here are some suggestions for listening:

1) Play the music when you have enough time to mindfully listen without worrying about being distracted by other issues.

2) Use whatever rituals you usually use when preparing  to move out of the  flow of ordinary life.

3) The music was especially created to be heard through headphones.  Try to avoid earplugs, if possible.

4)  As you listen, focus on your bodily reactions (i.e. sensations, feelings, emotions etc., whether positive or negative) rather than the meaning of what you are hearing.

5)  Try listening to the piece more than once be open to having different experiences with each exposure.  Try dancing/moving while you listen!

“IMPERMANENCE”: A NEW RELEASE BY WILSON BROS/SHRINK WRAP

 

Last week (see http://artandzentoday.com/?p=5038      ) I posted the first of a series of musical pieces that incorporate “messages” or “lessons” that I would like to incorporate into my life.  The idea is that perhaps these messages will have a greater impact on me if they are embedded  into music that I helped create  ( along with my brother, James).  The newest release deals with a subject that I especially have been resistant to hearing.  I would be interested in hearing from you about how you react to “Impermanence”.

Here again are the suggestions for listening to this series of music.  I would especially recommend the idea of moving while listening.  This may take the form of what we usually call “dancing”, but it may also involve simply swaying your body or tapping your foot as you sit and listen.  There is evidence that this makes the listener a more active participant in the hearing process.

Here are some suggestions for listening:

1) Play the music when you have enough time to mindfully listen without worrying about being distracted by other issues.

2) Use whatever rituals you usually use when preparing  to move out of the  flow of ordinary life.

3) The music was especially created to be heard through headphones.  Try to avoid earplugs, if possible.

4)  As you listen, focus on your bodily reactions (i.e. sensations, feelings, emotions etc., whether positive or negative) rather than the meaning of what you are hearing.

5)  Try listening to the piece more than once be open to having different experiences with each exposure.  Try dancing/moving while you listen!

 

 

PRESCRIPTION FOR DEPRESSION: SUN, DRUM, DANCE AND COMMUNITY.

There is reason to believe that many people are feeling depressed about the state of the nation and the state of the world.  If you relate to this, you might find the short statement below to be a useful reminder of some rather simple coping mechanisms.

Below is an excerpt from what a Rwandan told Western writer, Andrew Solomon about his experience with Western mental health and depression.  Thanks to Alessandra, a good friend and avid Art and Zen Today reader for calling my attention to this statement, as published on a Blog called “Under The Blue Door”. ( https://underthebluedoor.org/)  By the way, you can learn more about Alessandra by typing her name into the search box at the upper right- just doing that may help with your depression.

The Rwandan Prescription for Depression: Sun, Drum, Dance, Community.

~A Rwandan talking to a western writer, Andrew Solomon, about his experience with western mental health and depression.

“We had a lot of trouble with western mental health workers who came here immediately after the genocide and we had to ask some of them to leave. They came and their practice did not involve being outside in the sun where you begin to feel better, there was no music or drumming to get your blood flowing again, there was no sense that everyone had taken the day off so that the entire community could come together to try to lift you up and bring you back to joy, there was no acknowledgement of the depression as something invasive and external that could actually be cast out again. Instead they would take people one at a time into these dingy little rooms and have them sit around for an hour or so and talk about bad things that had happened to them. We had to ask them to leave.”

THE WORLD IS SOUND

I have been exploring the notion that the World is Sound in both my meditation and music practice.  I don’t usually miss the East coast but I sure would like to see this exhibit.  Below is an article I found on “Lion’s Roar”.  At the end of my post is a short promotion video for the Exhibit.

Touching Sound: A visit to the Rubin Museum’s thrilling new exhibit

BY 

 

From The World Is Sound: Milarepa, Central Tibet, 15th – 16th century; Parcel gilt silver with gilt bronze base; 5.12 5″ h. x 4.125″ w. x 4″ d. Long-term loan from the Nyingjei Lam Collection, L2005.9.62 (HAR 68492) 012; Photo courtesy of the Rubin Museum of Art.

“The World Is Sound,” at New York City’s Rubin Museum of Art, features the work of Éliane Radigue, Laetitia Sonami, Bob Bielecki, Christine Sun Kim, Hildegard Westerkamp, John Giorno, Pauline Oliveros, and more. Lindsay Kyte takes you there.

The entrance to the Rubin Museum of Art was alive with sights and sounds as their annual block party, this year called “Sounds of the Street,” welcomed visitors with free admission on Sunday, July 16. Revelers danced to live music, children made crafts, families enjoyed tasty treats, and then, it was through the doors to experience The World Is Sound, the Rubin’s newest exhibit that encourages visitors to “learn to listen with your whole body.”

When I got to the exhibit, housed on the sixth floor, at the top of the museum, I saw visitors giggly from the outdoor festivities suddenly stop, lower their eyes, and begin to intently listen. It was unusual, this experience. A museum visit can often be a hands-off, glass-encased, roped-off glimpse into a past and people that seem so far removed from our current state of being. But not this exhibit.

The first piece I encountered was “Four-Armed Avalokiteshvara in His Pure Realm of Potalika,”—pigment on cloth, and framed in glass. Seemed like a typical “look but don’t touch” experience. However, I saw visitors doing strange things. The piece was featured in a little alcove between two walls (as were a lot of other pieces), like this one:

Photo by Filip Wolak, via Rubin Museum of Art.

People were walking up to the glass frame and putting their faces close to the piece, standing still, really seeing it. Or so I thought, until it was my turn.

A sign indicated I should “touch the wall to listen to the mantra.” Tentatively, I did, as I leaned in toward the piece. All of a sudden, inside that alcove, the sound of monks chanting filled my ears. And, with my hand on the wall now feeling the vibrations of the sound, it felt like I had put my hand on the heart of some being, who was now chanting for me the meaning of this piece, to make it come alive for me. This tactile experience of the sound was so unexpected I was nearly moved to tears.

The World Is Sound, according to the Rubin’s description, “employs sound in new ways to animate and intensify the experience of art in the Rubin’s collection. Organized cyclically—from creation to death to rebirth—the exhibition explores different dimensions of sound and listening and its many functions in Tibetan Buddhism. Featuring work by more than 20 artists, The World Is Sound juxtaposes new site-specific commissions and works by prominent contemporary sound artists with historical objects from the museum’s collection of Tibetan Buddhist art to encourage reflection on how we listen and to challenge entrenched ways of thinking.”

The showstopper was the “leg bone trumpet.”

A row of headphones attached to a wall allowed visitors to hear creations by sound artists. A long bench in a white-walled room invited visitors to lie down to listen to a translated Tibetan funerary text, which could only be heard once you were fully lying down:

Photo by Filip Wolak, via Rubin Museum of Art.

A glass case of ritual text with musical notation suddenly came alive with sound as you stepped up to it. And one of the most popular experiences, on the day I visited, was a display wall of glassed-in musical instruments, which looked like a typical museum exhibit. Except when you approached each, suddenly, you heard the sound of it being played:

Photo by Filip Wolak, via Rubin Museum of Art.

The showstopper was the “leg bone trumpet (kang ling),” associated with the Buddhist concept of impermanence, as it is made from a human leg bone retrieved from a Tibetan sky burial. Played as a musical instrument, it elicited a hushed “wow” from myself and the lady next to me. We just stopped, and listened, and looked at each other.

It was then I realized “looking” is often a private experience, but “listening” is often shared, even with strangers, as you try to grapple with the juxtaposition of life outside dancing on the street and a sound that immediately places death in front of you to remind you that this moment is just that—only a moment.

The World Is Sound is on view at the Rubin until January 8, 2018.

 

“REMEMBERING STEPHEN LEVINE”: A TALK BY WILLIAM LESLIE

                                          Stephen and Ondrea Levine

In my last post “An Incantation to Time’s Disintegration of Memory: The Art of Gwyn Henry”, we began to move into the matter of “impermanence” which is a key concept in Buddhist understanding and practice.  In future posts, I  will be exploring impermanence further through my art.  For now, we turn to a lecture,  by artist and philosopher William Leslie which I video taped at at The Vista Zen Center last November.  His talk focuses on the work of Stephen Levine.  For over thirty-two years, Stephen and his wife Ondrea  provided emotional and spiritual support, from a Buddhist perspective, for those who are life-threatened, and for caregivers. They are the authors of numerous books, including Who DiesEmbracing the Beloved, and A Year to Live, among others.

 Stephen Levine died in January 2016 and William’s talk is titled “Remembering Stephen Levine.  You can watch the video of this talk by clicking on the link below.  The talk itself is only about 19 min. long; the remainder of the video captures the discussion that followed.

https://youtu.be/eF-Qhm306w0

William Leslie’s background includes degrees in physics and philosophy.  He served as an infantry soldier in Vietnam and as a Peace Corps Volunteer in India.  Presently, he teaches philosophy at Palomar College in the San Diego area and maintains a small studio in his home producing “Lightsculptures” for homes, restaurants, hospitals, businesses and religious institutions throughout the country. His work can be seen at:

 http://www.papersunlightsculpture.com/

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RITUAL JOURNEY: THE SHUSO HOSSEN FINALE

Today’s post consists of the last of the segments from my Shuso Hossen Ceremony.  It was lead by Alessandra and William and was a beautiful and fitting closing segment to the Ceremony and my year-long examination of the place of Zen ritual in contemporary society. You can see this segment of the Ceremony at:

https://www.youtube.com/watch?v=s8a3ypmW7qk

You can see other segments of the Ceremony (which took place in March 2016) and a series of talks on Ritual that led up to the Ceremony at the following link:

https://www.youtube.com/channel/UCKjCTdN9J7bhP7QCS16d1sA

 

ART FROM THE HEART: BETH TALKS ABOUT HER SUMI-E AND ZEN PRACTICES

Beth (Esho) is no stranger to the pages of Art and Zen Today.  Three years ago we published Beth’s article “BETH MOSKAL MILLIGAN ON SUMI-E PAINTING AND ZEN PRACTICES”  where she wrote about her studies with Sumi-e master Takashi Ijichi and Zen practice with Jake Roshi. ( http://artandzentoday.com/?p=3243 ).  The short talk from the Shuso Hossen , captured in the video below, expands upon this earlier article.  Pay attention to the points that Beth makes in the video; I think they are very consistent with my musical responses to the Shuso Koan as seen in a video posted earlier (   http://artandzentoday.com/?p=4678)

To see Beth’s “Art From the Heart” talk at the Shuso Hossen, please click below:

https://youtu.be/VJ4aP_xNhyA

Scroll Down to see other performances at the Shuso Hossen Ceremony.

 

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Shuso Hossen Performances by Judy, Sean (Taigu) and Ian

 

                                                   Bread by Taigu

Today’s post includes another video involving three more of the fantastic contribuitions by members of The Vista Zen Center to my Shuso Hossen Ceremony.  In this video, Judy leads the group in a rousing version of “Enmei Juku Kannon Gyo”.  Next, Sean talks about how his passion for bread-baking has become part of his Zen practice. Then, Ian sings Bob Dylan’s song “It’s all over, baby blue”, which he sees as a song about letting go.  All previous videos from the Shuso Hossen Ceremony can be found on the Art and Zen Today YouTube channel or can be found by using the search options to the right of this page.  Click below to see today’s video:

https://www.youtube.com/watch?v=VbYHEvwjMJg

 

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SHUSO HOSSEN CEREMONY: SEGMENT 4

Hello,

Today’s video captures the last of my musical presentations at the Shuso Hossen in March.  As I see it now, the first three (see previous videos) were really “preambles”; where I amble around aimlessly before getting down to addressing the Koan in a straight forward way.  Below I’ve printed the Shuso Koan which may help you get a better understanding of what I was trying to do in my final rap/singing presentation.

Actually, this was not my final presentation.  As you will see in the video, this rap/song segues into my singing, along with the help of the group, an altered version of Sly Stones “I Want To Thank You For Letting Me Be Myself Again”.  Shorty after the Ceremony, I crossed paths with blues singer Richard “Stoney” Stone and asked him to do a rendition of that song in my studio.  You can hear this version, along with the visuals that accompanied it the night of the Ceremony, at.(https://www.youtube.com/watch?v=WdWtlB6cphI).

Today’s video can be viewed by clicking here :

https://youtu.be/cr_1080EtN8

 

                                                   SHUSO HOSSEN KOAN

 —–

A student came to the teacher and said I want to study with you. Fine, you may study with me but, you are an artist and I want to know how you can fulfill your Bodhisattva Vows as a Zen Buddhist while painting at your easel or playing your trumpet.

 Who is your picture freeing? What  delusions are your tunes transforming? What dharma gates are being embodied when you sculpt? How does your art awaken anyone, including yourself??

——-

  THE FOUR BODHISATTVA VOWS

 —–

Sentient beings are numberless, I vow to free them.

 Delusions are inexhaustible, I vow to transform them.

 The Dharmas are boundless, I vow to embody them.

 The Buddha Way is unsurpassable, I vow to awaken.

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Lady Gaga, Passion and Creativity

For years I’ve been vaguely aware of  singers Lady Gaga and Amy Winehouse, but never made an effort to really listen to their music.  Both seemed too “over the top” for my tastes and somehow not worthy of my attention. A year or so ago, I happened upon a concert special featuring Lady Gaga on TV and found myself pulled in, at first,  by the spectacle of it all.  As a result, I came to realize that she could really sing.  More recently I ordered the documentary “Amy” from Netflixs and was equally surprised at the quality of her music.  ( I should mention that everything I am saying here applies to Michael Jackson as well.) 

If you haven’t seen the movie “Amy”, I would suggest that you do so.  It not only provides some insights into her creativity but also explores what I call the “thin line between creativity, spirituality and crazy” (see article “SUN RA, THE ALIEN: THE THIN LINE BETWEEN GENIUS, SPIRITUALITY AND CRAZY” at http://artandzentoday.com/?p=928)

Why some artists end up like Amy and others like Lady Gaga is a fascinating question that I don’t think  can be answered fully.  However, my friend and Zen teacher Jake Roshi recently brought my attention to an article that may provide some insight on the matter. The article was written by  David Brooks, a New York Times correspondent and is titled  “Lady Gaga and the Life of Passion”.  The link below leads to a video based on Roshi’s reading and commentary on the article at the Vista Zen Center.

https://www.youtube.com/watch?v=oEEBANvGgVc&feature