“Dancing With Death” and “The Elegy Project”

 

Where do we come from?  Where do we go?  Acrylic Painting by Steve Wilson

Over the past year or so, my brother James and I (collectively “Wilson Bros / Shrink Wrap”) have been creating musical pieces with spoken words having to do with death embedded in them. Two pieces were released in previous posts on Art And Zen Today.  I’ve received feedback that some people were reluctant to listen because they thought the music would be depressing, however, most reported feeling just the opposite after actually hearing the tunes. 

In today’s post I am providing links to two sites where you can go to listen to all the tunes we created and learn more about our project (see links below). First, you can listen to and download (for free) the album “Dancing With Death” which is based on this project.  At the second site you can see our contribution to “The Elegy Project”, an art-based exploration of death and dying created by Valerie Grove in the UK.

In creating our music, my brother and I attempted to pick messages we felt would help us face our own mortality by including them in music we liked and would listen to. It’s sort of an experiment inspired by Stephen Levine’s wonderful book ” A Year to Live: How to Live This Year As If It Were Your Last.” I have listened to the music we created almost daily over the past year, and although I am unsure whether my fear of death has subsided I do believe that, in subtle ways, the messages are helping me become more mindful in my life.

For instance one song (“Soon We All Will Die”) includes the repetitive phrase “Soon we all will die, our hopes and fears are irrelevant”. I find this phrase popping into my head at various times throughout the day, usually when I am frustrated or annoyed by what is presently going on. More often than in the past, I may remember that my time on earth is limited and that getting worked up over whatever is bothering me at the moment, is not worth it.  Now that the tunes are finished and I look back over them for a common theme, it seems that most of the messages on the album remind us that by fully acknowledging our mortality, we can choose to live a more authentic life.

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Death is the only wise advisor that we have. Whenever you feel, as you always do, that everything is going wrong and you’re about to be annihilated, turn to your death and ask if that is so. Your death will tell you that you’re wrong; that nothing really matters outside its touch. Your death will tell you, ‘I haven’t touched you yet.”

― Carlos CastanedaJourney to Ixtlan

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Here are the links:

1) http://www.onemindmedia.net/music-2/

Here you can listen to or download “Dancing With Death”.  I would urge you to also explore other pages of this site (which is in it’s infancy) as it is rather unusual.

2) http://naturestrikesback.com/voices-from-the-void

This is a link to Valerie’s website “Nature Fights Back” and the “Elegy Project”.  I would strongly suggest that you visit her site to see her wonderful artwork and to experience “Voices From The Void” as well as the other contributions to the project.

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DRAMA AND THE SILENT RETREAT?

A play about attendees at a Silent Retreat?  What would that look/sound like?  What are the chances of my reading the article below a day before attending a week long Zen retreat conducted in silence?  Reading about art is not the same as experiencing it first hand, but I think you will find this article/ interview of interest.  It is about the playwright Bess Wohl and her play “Small Mouth Sounds”.  Most of my blog posts have to do with the interconnection between the visual or performing arts but I’ve not written much about the dramatic arts.  I haven’t seen the play but I’m guessing my experience of silence over the next week will be affected by this article.
“Play’s silence speaks for itself” LA Times Jan. 11, 2018

A minute of silence onstage feels like an eternity. So imagine what 100 minutes of silence would feel like. That’s exactly what playwright Bess Wohl did when she set out to write “Small Mouth Sounds,” which makes its Los Angeles-area debut at the Broad Stage on Thursday.

Set at a silence retreat in the woods, the play explores the lives of six people as they struggle to connect, and find inner peace, without uttering a word. The play has a few moments of speech, but the only substantial dialogue comes from the person running the retreat — a bodiless voice offstage.

For a writer who admits to relying on witty banter for some of her best work, the play proved a dramatic challenge and a creative triumph for Wohl and director Rachel Chavkin, the latter fresh off the raves she earned on Broadway for her inventive “Natasha, Pierre & the Great Comet of 1812.”

As part of a national tour that will take “Small Mouth Sounds” to Dallas, Miami and Philadelphia, Wohl talked with The Times about her process and explained why silence is sometimes louder than words.

What made you want to write this play?

The idea came when I was on a silence retreat. I had been — I wouldn’t say dragged — but encouraged to come by a close friend. I didn’t realize we were going to be in silence. I thought it was going to be a girls bonding weekend. I brought snacks and wine.

But on the first night of silence I simultaneously realized, “Wow, this might be fertile ground for a play.” I had this impulse based on observing other people and thinking they would be great characters to explore, but I didn’t know anything about them because I hadn’t spoken to them.

So the whole thing became this projection of my fantasy about who they might be. I got really interested in the way we project fantasy on each other all the time, and I was interested in engaging the audience in that process.

Did you do more research?

I went back to a bunch of silence retreats. I went to one with my mom, but we only lasted about halfway through. I just got deeper and deeper into this idea. There was a part of me that really enjoyed the perversity of trying to make a play where people don’t speak, and what that would be like. It was all a great experiment.

I started it in 2012, and there were series of workshops with actors. I wrote a bunch of drafts. My first draft, I couldn’t help myself and all the characters immediately started talking and breaking the rules. Then in the second draft nobody spoke ever, and that felt kind of false. What I ended up finding was balance.

I did a lot of workshopping — putting the play in front of groups of 20 or 30 people, so I could understand what information they needed to follow the plot. There was lots of testing with other people, which was part of the joy of a silent play. You have to see it in bodies and spaces.

What does the script look like?

The beginning is about 12 pages of character descriptions. I felt if I were going to ask actors to play characters that barely spoke, I had to give them enormous backstories to ground them. My hope is that the audience can intuit that there’s a lot going on beneath the surface. After that there’s about 40 pages of stage direction, and there are some monologues in the play. The other piece of perversity is that the character who speaks the most is never seen in the play.

I was interested in creating these obstacles in both directions. What is it like to hear and not see, and vice versa.

I realized how hard it is for me to personally sit in silence. The play begins in silence. You watch someone in silence for a full minute, which onstage feels like a very long time. So when I watch I go through a whole arc of anticipation and agony. Part of the project is teaching myself to slow down and sit in silence with something I made. As a playwright it’s hard to evaluate your work because the voices in your head are so loud. In part I was trying to quiet those voices.

I always think any kind of change or growth is jagged — but I definitely have moments now when I can access the quiet I didn’t have before. And then a minute later the voices are back.

How did you hook up with Rachel Chavkin to direct?

I got so lucky with Rachel. We had a coffee, and she had read the play and came to the first meeting with such a clear vision of what she wanted the audience to feel by the end of the play. She wanted them to feel as if they had been at a silence retreat. She said they should leave the theater in a different metabolic state than they came in with.

How would you describe the plot?

It’s tricky to put it into one sort of nugget because every time I watch the play, I see it in a different way depending on whatever I’m going through in my life. What’s interesting about a silent play is that the audience brings a lot of perspective. The audience can project their own experiences and ideas onto the characters.

The play is a lot about the question of inner peace. A character asks whether peacefulness is a worthy goal right now given the chaos of the world. He says maybe we shouldn’t be at peace in a world that has so much difficulty.

How do you feel about the cast that will be performing at the Broad Stage?

I have the greatest respect for this company of actors. Part of what’s hard about this play as an actor is that it’s impossible to perform without being fully present, because there’s no dialogue to coast on. You can’t be saying the words while thinking about the hamburger you’re going to eat at the bar afterwards. Being present is all there is.

Do you think the show will play differently in L.A. than in New York?

I’m really excited to see it in Los Angeles. L.A. has a great community of spiritual seekers and yoga practitioners and people who have been on a lot of these retreats. I wanted to make something accessible whether you’d been on a million retreats or had no idea what one was about.

I’m hoping that people in L.A. can see themselves and laugh a little bit and also engage with the ideas.

What’s next for “Small Mouth Sounds”?

This play is going to continue to tour, and that will be really fun to keep sharing it with people around the country. When I first started this play — as my little experiment, will people engage with this, will people fall asleep — I never imagined it would be a multi-city tour. It was such a tiny, weird idea. We had auditions where we just had actors come in and sit in silence and leave.

What’s next for you?

I have a new play that I’ve been working on that tries to look at questions surrounding climate change. I’ve been working on it for years and am figuring out how to tackle it. Hopefully there will still be a planet next season.

♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

‘Small Mouth Sounds’

Where: The Broad Stage, 1310 11th St., Santa Monica

When: 7:30 p.m. Thursdays and Fridays, 2 and 7:30 p.m. Saturdays and Sundays; ends Jan. 28.

 

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SPIRITUALITY AND ART

Here are two articles that align themselves very well with the focus of Art and Zen Today.  One deals with visual art; the other with music.  I hope you enjoy them.

Meditations on canvas

By Ollie Reed Jr. / Journal Staff Writer
Sunday, November 26th, 2017 at 12:02am
Meditations on canvas

Titus O’Brien, assistant curator of art at the Albuquerque Museum, sits in front of two of the paintings he will highlight during the upcoming program, “The Zen of Abstraction.” Immediately behind O’Brien is Mark Rothko’s “Old Gold Over White.” At right is Kenzo Okada’s “Abstraction No. 7.” Both works are in the museum’s “When Modern Was Contemporary” show. (Marla Brose/Albuquerque Journal)

 

Rooted in front of the 1957 Mark Tobey abstract titled “Lyric,” Titus O’Brien talked about the influence the Chinese art of calligraphy played in Tobey’s paintings.

Titus O'Brien talks about Mark Tobey's painting "Lyric," an example of the influence Chinese calligraphy played in the artist's workTitus O’Brien talks about Mark Tobey’s painting “Lyric,” an example of the influence Chinese calligraphy played in the artist’s work. O’Brien, an artist and a Zen instructor, will discuss the influence of Asian philosophies and religions on avant-garde painters of the 1940s to the 1960s. (Marla Brose/Albuquerque Journal)

“Many of his paintings are much more dense than this,” said O’Brien, assistant curator of art at the Albuquerque Museum. “Here there are no characters, no letters. The energy of the mark making, inspired by calligraphy, is the message. It is radically non-symbolic.”

Tobey’s painting, tempera on board, is among the 50 works in the Albuquerque Museum show “When Modern Was Contemporary,” which continues through Dec. 31.

“Lyric” is an uninhibited shout out of color – pale yellows, whites, squiggles of red, patches of olive green. The effect on O’Brien is to make him pause for a moment, to reflect.

“It’s painted in difficult colors, weird, strange colors, awkward colors,” he said. “I like paintings that resist you. They are sort of like Zen meditation. It’s not so easy to sit still.”

Integrated and engaged

In O’Brien’s view, all works of art should be objects of meditation. But he noted that this is especially so in the works by artists of the avant-garde movement of the 1940s to the 1960s – painters such as Tobey (1890-1976), Kenzo Okada (1902-1982), Mark Rothko (1903-1970) and Jackson Pollock (1912-1956) and the composer and music theorist John Cage (1912-1992). Unlike artists who poured out their souls onto their canvases, O’Brien said Tobey, Okada, Rothko and Pollock, all of whom have works in “When Modern Was Contemporary,” shifted the emphasis in their paintings from their own feelings to the objects depicted in the work.

Clarence Giese and Ingrid Vollnhofer check out Mark Rothko’s “Old Gold Over White,” left, and Kenzo Okada’s “Abstraction No. 7” during a recent visit to the Albuquerque MuseumClarence Giese and Ingrid Vollnhofer check out Mark Rothko’s “Old Gold Over White,” left, and Kenzo Okada’s “Abstraction No. 7” during a recent visit to the Albuquerque Museum.

He said that’s due in part to the fact that these trailblazers were very much influenced by Asian philosophies and religions, especially Zen Buddhism.

“Zen is about your whole body and your whole mind integrated and engaged,” he said. “Many of the artists in this exhibit were looking for ways to expand beyond materialism, consumerism and militarism. These artists are not depicting the world, they are organizing color, line and shape.”

On Saturday morning,O’Brien will lead a brief guided meditation followed by a tour of select works in “When Modern Was Contemporary.”

He is especially well suited to the task. He is an artist, a sculptor and a painter who does abstracts in casein (milk tempera). But he has also studied Zen for three decades and is an instructor in the Japanese Soto Zen tradition. On most days, he meditates in the morning and again in the evening.

“My tradition is just sitting and allowing sensation and thought to arrive and depart without manipulation and engagement,” he said.

And that works just fine for looking at abstract paintings.

‘Here I am’

O’Brien, 50, grew up in Littleton, Colo., and early on was unsure as to what path he would follow.

“I had a grandfather who was a painter and a grandfather who was a biological scientist,” he said. “I wanted to be both. I was drawn to medicine, and I was also interested in anthropology. But the art won out in high school.”

He earned a bachelor of fine arts from the Kansas City Art Institute in 1991 and master of fine arts from the Yale University School of Art in 1993. He was introduced to Zen when composer Cage was a visiting professor in Kansas City in the late 1980s.

Cage was born in Los Angeles and died in Manhattan, but his major influences were East and South Asian cultures. Cage attended D.T. Suzuki’s lectures on Zen Buddhism in the late 1940s and early 1950s and used the ancient Chinese text the “I Ching’ as a tool for creating his musical compositions.

O’Brien attended lectures Cage presented in Kansas City and interacted with the composer during one of those sessions.

“He was saying really interesting stuff about the non-existence of the self,” O’Brien said. “I said, ‘What do you mean I don’t exist? Here I am.’ He said, ‘Yes, exactly. And what is that?’ My brain couldn’t make anything of it.

“He had this Cheshire cat smile and these twinkling eyes. It was a beautiful, transforming experience. I connected with him very strongly. He was a singular and radiant individual. He singled me out, and he started talking to me about Zen.”

While doing graduate work at Yale, O’Brien studied at the New Haven Zen Center. Between 1995 and 2000, he spent time at Zen centers in Rhode Island, Kentucky and Northern California.

“Now, I use the ‘I Ching’ to compose my paintings,” he said.

Organized activity

Just as Cage helped form O’Brien’s zeal for Zen, Tobey’s interest in Eastern religions – he converted to the Bahá’i faith – may have influenced Cage to some degree. The men were friends and Tobey studied piano and music theory with Cage. And there are those who suggest that Tobey’s oriental brushwork and calligraphic strokes prompted Jackson Pollock’s drip paintings.

One of those Pollock paintings, “Number 8, 1949,” is in the show. O’Brien refers to the piece – a roiling, twisted mass of oil, enamel and aluminum paint on canvas – as organized activity.

“All art is a mediation between order and chaos,” he said. “But Pollock was clearly the most chaotic of his generation.”

But that doesn’t mean his work is not Zen.

“Zen tradition is full of rogues, raconteurs and radicals,” he said. “Zen is not just the eternally beatific, monks and monastics.”

Kenzo Okada was born in Yokohama, Japan, and was a realist painter before he moved to New York City in 1950.

“Then he got swept up in the heated, abstract atmosphere,” O’Brien said. Even so, his abstract paintings retain a powerful Japanese sensibility and appreciation of form. His 1953 oil on canvas, “Abstraction No. 7” is part of the exhibit. Large shapes and smaller ones stand out against a desert-sand background.

“Notice the numbered title,” O’Brien said. “You are not supposed to be able to tease out any kind of story. Clearly Okada wants you to view that painting on its own merits. You are approaching these elements in their relationship to each other. He leaves these sort of wonderful negative spaces – landscapes of the mind and heart.”

Floating in space

Okada and Rothko were friends. Did Okada’s Japanese-flavored abstracts influence Rothko? Maybe. Maybe not.

But Rothko’s 1956 oil on canvas, “Old Gold Over White,” might just be the most Zen work in the show. O’Brien describes the painting as hazy rectangles floating in space.

“Do you fall into them, or do they come out and get you?” he said. “The best description of Rothko’s paintings is meditative. They are not promoting any Zen doctrine. They are just inviting you to meditate on them, on your experience with them.

“You can come back to a Rothko painting forever and have different experiences each time. You can say the same of Zen meditation.”

If you go
WHAT: “The Zen of Abstraction.” Art curator and Zen practitioner Titus O’Brien guides visitors through a brief meditation, followed by a tour.
WHEN: 10-11:15 a.m. Saturday, Dec. 2
WHERE: Albuquerque Museum, 2000 Mountain NW
COST: Program is free with regular museum admission of $1-$4.

 

 

 

 

 

A Few Questions (New blog article)

Paint as you like and die happy
– Henry MillierAchieving success and fulfillment as an artist takes more than hard work. It requires the:
* Perception to see your world (inner and outer) as it is
* Discernment to choose a course of action
* Focus to stay the courseThe following questions may help you find this perception, discernment, and focus. Write down your answers in a journal. Some of the challenging questions will ask you to dig deep.
* When are you fully self-expressed and connected as a musician?
+ Identify specific moments. Where were you? Who were you playing with? Who was in the audience? What did the music sound like?
+ How can design more of these experiences?* What artists/performances/recordings most resonate with you at a core level? Art that flips a switch emotionally and/or spiritually.* Does the music you play resonate in the same way?
* If not, what can you change about your practice to connect with your own music on a deeper level?

* Imagine yourself ten years from now playing ideal music under perfect conditions. Where are you? Who is there? What does it sound like? What’s stopping you from doing this right now?

* Choose your audience: Who are the people who will connect and resonate with the music you create? What do they value? What type of experience do the seek? Where do they connect with each other?

* If you never performed again, who would miss you?

* What limiting beliefs get in your way? These biases and narratives may be hard to uncover, because they can be ingrained into our view of the world. A few examples:
+ I’m not naturally talented enough to ______  (a.k.a. “fixed mindset” (https://stevetres.us7.list-manage.com/track/click?u=e48deb90ce850347108686725&id=1c3a55781d&e=ae2503bdd2) )
+ I’ll never be as good as ______, so why bother
+ “Work” is inherently unenjoyable
+ Artists can’t earn a good living without selling out

* In The War of Art, Steven Pressfield outlines strategies for fighting “the resistance”—our biological need to feel safe and secure. This can sabotage our art. How does the resistance interfering with your best work? Some examples:
+ Talking yourself out of a project because of the fear of failure
+ Avoiding listening to recordings/watching film of your performances
+ Stage fright
+ Obsessive perfectionism
+ Procrastinating because you don’t “feel ready”

* Have you defined success and fulfillment for yourself, or are you stuffing your journey into somebody else’s model/expectations?
* If money wasn’t a barrier, what projects would you initiate?
* What’s an exciting project you initiate with little or no cost?

Ignore the resistance and start now.

– ST

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Comments:

 Thanks for sharing this.  It’s funny, looking back at how I began to appreciate art, I took a similar approach. I was drawn to abstract and minimal art because it allowed space for viewer to enter the work without the need for historical contextualization or symbolic analysis.  Rothko and Ad Reinhardt were influential for me.  Have you been to the Rothko chapel?  Definitely worth it if you haven’t.
     Great website. I will look forward to future posts. Hope all is well.
A.
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That was beautifully said.

Thank you for sharing it with us.
D.
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Thanks Steve for posting these articles!

I’d love to go see the exhibit in Albuquerque.
G.

“WHAT WAS IT? ” NEW RELEASE BY WILSON BROS/SHRINK WRAP

 

“Bodhi Tree Leaf”, John Gage (http://jmgage.com/)

 

Here is a new tune called “What Was It?”.  It was inspired by Stephen Levine’s One Year to Live Project, which I learned about in William Lesley’s lecture entitled “Remembering Stephen Levine”. You can see this lecture by clicking on this link:

www.youtube.com/watch?v=eF-Qhm306w0&t=7s

Since we are moving into uncharted waters with this new music, we are interested in hearing from you about your listening experiences.  Happily, some of you have taken the time to provide some responses.  Below are some of the more elaborate comments I received on the first two tunes we released. They seem to confirm that the listening experience is enhanced by following the Suggestions For Listening (see below). Two people mentioned difficulties with hearing and understanding the words. It is not clear where in the tunes this happened but there are some points where the voice levels were intentionally recorded at a very low volume. As per item # 4 in the Suggestions For Listening, I would suggest that you treat the voices as just another ” instrument” and pay attention to this sonic experience rather than any associated meaning.

Below the Comments is are the Suggestions For Listening and the link to “What Was it?
——————————————————————————————————————–COMMENTS ON “RIDE THE SOUND CURRENT” AND “IMPERMANENCE”.
I listened and I think it’s great. I like the beat and found myself dancing to it. Also conducive to samadhi.
Thanks,
Keep up the good work!
…..

WOW!!!! I just listened to this again with no distractions and not as ‘easy listening’ but rather as ‘meditation’ as u suggest Maybe because of the title I had the thought “Oh just go through couple of deaths within 8 months of each other and then you will know about impermanence … then I tried to release my preconceived notion…however, as I listened the music and words totally took me to the process of releasing my mother and the events of her last few days in her body….including the end where it sounded like her essence was being whisked away by a helicopter…I was rocking and totally into the main body of the work very very compelling…maybe because I have been listening to you and Jim for so long, but I feel this is your best collaboration EVER… Only change I would make is I found it kind of hard to hear what you were saying in one of the longer sentences ( kind of in the middle)..maybe it is aging ears on my part and wouldn’t be a problem for most people..also I listened with my ear buds and not ear phones as suggested. Simply the best
…..

Loved the words throughout the first piece (Ride the sound current?), and longed to hear more vocals in the 2nd half of this piece. Great, nevertheless.
…..

I’m replying by email because I couldn’t find a comment button on the website, but I want to actually rave blissfully about “Ride the Sound Current” your collaboration with your brother. I find it to be wonderful, for oh so many reasons, starting with the conception, and forward from there through the spoken messages set to music, the amazing ecstatic sax, the rhythms, and on and on.
I found it wonderful to listen mindfully w/ headphones, and am especially loooking forward to moving improvisationally to it, with eyes closed, as in moving meditation. I have been participating in an Authentic Movement class which uses this format, which does not use music. I think moving to this kind of music would be a valuable variation as well.
…..
Very cool tune and idea!!
…..
.impressive. Wonderful stuff!!!!!
…..
I loved this track, too. I am addressing these very things at present.. with Pema Chodron’s, When Things Fall Apart. Tough stuff. For me anyway. Sometimes I yell at poor Pema, mentally throwing her book at the wall. But still… I return to the swim. Thank you for your music.
…..

Wonderful, Steve. I like the way the sax dances on a very compelling back beat. Keep up the good work!

…..

Great idea. Could take a lifetime to fully illustrate. Musically I find it satisfying, as I do all of your recent recordings. For me, after stopping to put in my two new snazzy hearing aids, the voices could be cleaner and more dominating as they fade in and out. That might just be my ptsd from years of straining to hear conversation in restaurants.
…..

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!

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RIDE THE SOUND CURRENT: NEW MUSIC FROM SHRINK WRAP

     “Jim Drumming”, Photo by Ann Pirruccello.

Like most people, I am constantly running across written quotes, videos, podcasts etc. that contain ideas that I would like to incorporate into my life.  Often these “lessons” are difficult to hear, let alone embody.  About a year ago, it occurred to me that I might be open to hear these ideas if they were embedded in music that I liked.   And, so I began accumulating spoken messages that seemed to fit those criteria and create music to help make these messages more “hearable” on my part.

Recently it occurred to me that the music I had come up with might be enhanced by including contributions from my brother James, who is an accomplished saxophonist and composer. Collectively we are known as “Wilson Bros/Shrink Wrap”.

The tune introduced below, “Ride the Sound Current”, is the first of a series based on my experiment that will be released at Art and Zen Today.

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

Over time I have become increasingly interested in how listening and sound (and music) have been used in various meditative practices over the ages.  This is no place for an exhaustive review but below the video link, I have included a number of sources below dealing with this topic for those who may be interested in exploring further.

To hear “Ride the Sound Current” click below.

 

BOOKS

Hazrat Inayaat Khan  The Music of Life: The Inner Nature and

Effects of Sound  and The Mysticism of Sound and Music: The Sufi Teaching of Hazaart Inayat Khan.

Joachim-Ernest Berendt,  The World is Sound: Nada Brahama.

 ONLINE SOURCES

3 Reasons to Listen to Music Mindfully

http://www.wildmind.org/background/can-anyone-meditate/music

Mindfulness, Music Appreciation and Empathy

http://www.huffingtonpost.com/patrick-groneman/mindfulness-practice_b_3894331.html

Video on Listening Meditation by Stephen Batchelor

http://www.stephenbatchelor.org/index.php/en/guided-meditation-on-listening

 Music, Trance and Mindfulness:  http://artandzentoday.com/?p=4292

Aaron Copeland on Mindful Listening: http://artandzentoday.com/?p=4211

What are You Presently Listening To?  http://artandzentoday.com/?p=4091

An Incantation to Time’s Disintegration of Memory: The Art of Gwyn Henry

 

Sudie by Gwyn Henry

I often feature artistists whose work seems to exemplify the perspectives on  art and spirtiual practices that I have developed over the years on this site.  As I have pointed out in previous posts, art practice can often be meditative in nature but it also seems to inevitable bring up “issues” which, if faced fully, can be transformitive.  A good example of this, I think, can be found in the work of Gwyn Henry of Excondido CA.  This post consists of a video, a series of images and a short statement  by Gwyn.  My suggestion is that you watch her short video first and then scroll down to see the still images and her account of how her work has evolved.       http://choctaw44.wixsite.com/gwynart

 

 

 Click on link to see Video by Gwyn Henry:

https://www.youtube.com/watch?v=vIKNnFjtKac&feature=youtu.be

 

“An Incantation to Time’s Disintegration of Memory”

                         by Gwyn Henry

When I acquired software that allowed my computer to communicate with an old-school VCR player, I was eager to put my parents’ vintage home movie footage into my film editing application for viewing. The footage was in VHS cassette format, and had been stored for over half a century. Once the frames began to move in front of me, I suddenly became aware of, and shocked by, the way those cherished images of my childhood, were decomposing. They had become a chaos of fragments, like shards from a broken mirror…. a disembodied head here, an arm there, torsos flitting briefly across the sceene. What images were still discernable held striations, static, their colors fading fast, and large sections were already and simply gone.

This disintegration struck me as a profound metaphor for what happens to human memories. In the same way one might discover, years after a loved one dies, calling their face to mind has become strangely impossible; or we have forgotten the ending of one of our life’s important narratives; or have confused one long-ago friend with another…

 

Watching my childhood flicker and sputter before me, it was as if the most fundamental connections to other humans… my parents, grandparents, brother, sister, aunts, uncles, cousins… were literally, before my eyes, saying good by, breaking up & vanishing. More than a few times I reached to touch the screen, as if to stay them, as if I could hold them in my hand to keep them from leaving.

 

Yet even as I experienced this human aversion to the way Nature imposes a time limit on the stuff of this world, I must admit to finding Beauty within that disintegration and vanishment. The nascent Images of my life, preserved by this outmoded technology, reveal an eloquence that speaks to many things: the fading of the history of our lives as it exists in memory, the temporary nature of our lives, the physical decay of the tapes themselves, and just as much, the conceptual worlds of technologies that come and go with the quickness of ephemera: Today’s high-cachet iphone is tomorrow’s rubbish.

Immersed in making video art at the time, I created and produced a “video poem” from the home movie footage, presenting the images as art as well as artifact. The video poem was intended to be an abstraction, or embodiment, of the essential qualities of my discovery of the connection between the loss of memory, and the loss of the vintage tapes. An attempt to show the way I experienced it. It is titled, AN INCANTATION TO

 

TIME’S DISINTEGRATION OF MEMORY.

A few years later, I revisited the video poem, which resulted in me excising single frames, “stills”, from it (perhaps, unknowingly, another attempt to keep the images from disappearing!). After adding more digital effects, then printing and framing them, to my surprise they became icon-like in their stillness, images frozen for contemplation. Like icons, they offer entry to the world of the subject (my family and my childhood).. a world where discovery and revelation can be found and explored.

I have determined that not only traditional religious icons can lead to revelation. A single human life also encompasses its own world of personal iconic images which, if entered, offers a path to deeper knowledge and understanding of that individual world. Those images can allow us to see and feel even more keenly what we have lived.

—Gwyn

NOTE:

Some of the images carry a visual conversation between my inked traces, and the landscape of the image. I found this process to be meditative, and evocative of feelings and impressions that were often beyond words. Each ended with a sense of a completed entirety….something had been brought full circle. –g,

COMMENTS.  The comment feature has been turned off due to massive amounts of Robo-Spam.  However, please send any comments to the following address at G mail;

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1) “wow, I felt it as a dissolution of the Self…
thank you for this Steve”  A.

2)

Thanks for that Steve… I don’t often take the time to ponder and reflect regarding where I have been and where I am going as a result of where I have been… Yet, when I do, very much like Gwyn, I am apt to walk through doors which have been closed for years or perhaps doors that I never even stood in front of before – Deep stuff, my man!!! again, thanks for sharing.  S.
3)

I know Gwyn.
Jon

 

REMEMBER TO FORGET THE SELF

In my last blog (some time in the distant past) I promised to delve further into the topic of active or mindful listening.  I still want to do this but in the meantime, this music video came about (see  below).  It was inspired, in part, through reading Zen Master Dogen, but it is not necessarily a “zen video”.  Like everything else (art or otherwise) this video is something that is available for engaging mindfully if you want to.  It’s up to you.  I’d suggest using stereo headphones and watching when you are not busy with other stuff.

 

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WOULD YOU MIND WAlKING THIS WAY?

“Would You Mind Walking this Way?” is the latest video produced by Art and Zen Today and the One Mind Artist Coalition.  It speaks to the notion of being on what is variously referred to as an “inner journey”, a “trip” or a “Path”.  What I tried to convey in this video is that the Path entails  being in the moment while on the journey, no matter where it takes us.  The idea is to let go of concerns of where we are going or when we are going to get there and become fully immersed in the journey itself.  To do this we must let go of excessive conceptualization and allow the shift away from left brain processes that I spoke of in the previous post (Music, Trance and  Mindfulness ).  Although most of us have had experiences involving this type of shift, it is often not a comfortable one because it may feel that our sense of being in control,( which is the basis of our sense of self), is being lost (see previous blog post).  To find earlier posts on “left-brain process” or other concepts, use as key words in the search engine of this site at the top of the page.

On the other hand, when we allow such experiences to happen, it can often be quite liberating; liberating in the sense that one learns that there are other ways of being that are free of stress and strife.  I remember my father, who one health professional described  as a “Type Triple A Personality”, telling me about having  such an experience while on vacation in Puerto Rico.  He found that, even far away from his practice (he was an M.D), he could not stop thinking about his work.  According to him, after several days of not being able to relax, my mother gave him a pencil and pad and told him to go draw something on the beach.  This, he told me, finally allowed him  to “let go” of his thoughts, be more fully present and he enjoyed the remainder of his vacation.  As he told me this story, it was clear from his voice and the tears in his eyes that this had been a major “realization” in his life.

The roots of the word “vacation” are variously described as “free of occupation” and “to be empty”.  In my Dad’s case he was “preoccupied” with thoughts about his work and unable to experience his moments on the beach and elsewhere in Puerto Rico by being fully there.  Ideally, the novelty of the places we visit on vacation allow us to become fully present and this can only happen by “forgetting” our left-brain/self-sustaining thoughts.  This is why, I think, that Dogen famously wrote that “to study the Buddha Way is to forget the self” and why Csikszentimihali said that “flow experiences” happen when we forget the “conceptual  self, but not what Langer calls the “experiencing self”.

In Zen, sitting mediation is the key practice in studying the Buddha Way; the way of reality-i.e. being with whatever is happening in your life rather than what you want to be happening.  Zazen may be thought of as a practice time where one goes on a brief vacation under conditions that facilitate practicing the difficult task of “vacating” or “emptying”. But, Zen, along with other Spiritual disciplines also emphasize the need to eventually extend this practice into all aspects of life.  One way this has been emphasized in Zen is by incorporating “kinhin” or “walking meditation” into the routines of those practicing sitting meditation.   When correctly practicing walking meditation one is fully absorbed in the waking process with no thought of going anywhere.  When you watch the video look for instances of such mindful walking; the title of the video alludes to such mindfulness. The music that accompanies this video is a remix of the song “Caravan”, which is a jazz standard composed by Juan Tizol and first performed by Duke Ellington in 1936.   See the video below.

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DRONOLOGY 101: TONGUE IN CHEEK – DROOL ON DESK

A Didgeridoo; a droning wind instrument developed by Indigenous Austrailians

The Drones are coming!  The Drones are coming!  The video below called “Dronology 101: Tongue in Cheek – Drool on Desk” is the first attack.

 As you know my recent posts have been about the general topic of mindful listening.  One thread of this exploration will entail playing with the nature of “drones” and how they relate to mindful listening. What kind of drones am I talking about? The dictionary provides a number of definitions for this term, some of which I’ve listed below.

 1. an unmanned aircraft that can navigate autonomously.

2. a low monotonous sound; hum or buzz

3.  to speak in a monotonous tone

4. to proceed in a dull, monotonous manner.

5.  a continuous low tone produced by a musical instrument like bagpipes.

6.  a genre of music using drone like instruments.

7.  the male of  the honeybee, stingless and making no honey.

8. a person who lives on the labor of others; a drudge.

 Well, the answer is that I will most likely end up touching on all of these forms of drones.  However, my investigation will always focus on musical droning. 

Drone music is a minimalist style, that emphasizes the use of sustained or repeated sound, notes, or tone-clusters-called drones.  It is typically characterized by lengthy audio programs with relatively slight harmonic variations.  Some examples of ethnic or spiritual music which contains drones includes bagpipe traditions, didgeridoo music in Australia, South Indian classical music, Japanese Gagaku tradition, and medieval European chants.  Today, drone music is primarily created using digital processes; check out the online station, The Drone Zone at Soma FM.

The fact that this form of music, both traditional and contemporary, is seen as having a spiritual or consciousness- altering effect makes me wonder whether it can help induce what I have been calling “mindful listening”.  This is of interest to me because typically, any sound that is unvarying can certainly induce boredom or sleepiness. Is it, I wonder, possible to produce art that has elements of this repetitiveness and monotony and still provide opportunities for the audience to attend mindfully?  At this point I am not sure of the answer and so future posts will play with this question.  As always, your comments will help with my investigation.

 It seems appropriate to begin with the short music video which I have titled “Dronology 101- Tongue in Cheek – Drool on Desk.  Let me know what your experience of this piece was like in the Reply Box. Be sure to turn up your volume and for better results use stereo speakers or headphones.

 In case you were wondering about the phrase “Drool on Desk”, check out the wonderful film Ferris Bueller’s Day Off. 

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HAIKU IN FOUR SEASONS

Today’s post features a video entitled “Haiku In Four Seasons” by James Wilson.

A traditional Japanese haiku is a three-line poem with seventeen syllables, written in a 5/7/5 syllable count. Often focusing on images from nature, haiku emphasizes simplicity, intensity, and directness of expression. Although not all original haiku poets were Zen adherents, some of those considered to be the best were. 

Zen is a school of Buddhism concerned with the cultivation of a profound down-to-earth awareness of this ‘suchness’, unmediated by doctrine or other concepts. Haiku are the most thoroughgoing expression of literary Zen. They are also one of the several meditative ‘Ways’ (like calligraphy and the minimal ink paintings, zenga and haiga) whose form both gives expression to insight and helps to deepen it.

The ‘haiku moment’ is thus no less than a tiny flash of an ultimate reality which in fact is just what is under our noses. These brief poems also distill what is the essential “truth” of Zen; namely that all is impermanent.

This theme is clear in the video below, which adds music and visuals to spoken words.  Enjoy!

 

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