“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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Zen Buddhism and Japanese Art: the Inspirational Life of Hakuin Ekaku

 

As you know, most of the posts at Art and Zen Today deal with contemporary art practices.  However, it is helpful to have some understanding of how the various arts have traditionally been connected with various meditative disciplines.  Below is an article that provides a nice look at that connection in Zen.  This article was called to my attention by Jake Roshi, an avid supporter of Art and Zen Today.  If you come across any articles that you think might make a good post on the site, please let me know. Also, we are always looking for “guest editors” so if you have some prose or art work that you think our readers would like, please let me know.
By the way, you may find two previously published articles on Sumi-e painting practice by Beth Moskal Milligan (Esho) to be of interest.  Click on the links below to read these articles.

Zen Buddhism and Japanese Art: the Inspirational Life of Hakuin Ekaku

 Lee Jay Walker

Modern Tokyo Times

The holy Buddhist monk Hakuin Ekaku revived the school of Rinzai Buddhism based on taking Zen Buddhism far and wide. Indeed, his upbringing meant that he never lost touch with people at the bottom of the ladder, in terms of wealth. Also, despite Hakuin being outspoken towards other Buddhist sects, he never sought to alter the non-Zen Buddhist ways of people residing in the countryside. Hence, the roots of his early life meant that Hakuin could reach out both culturally and religiously to ordinary people in rural communities.

In other words, many lay people throughout the countryside fused the various aspects of rural Shintoism, Confucianism, and the ways of Buddhism. Hakuin fully understood the rich fusions of ideas that impacted on rural society and the religious – and philosophical dimensions – that remained like a rock during times of hardship.

True to nature, Hakuin declined to serve the most prestigious Buddhist monasteries in Kyoto that impacted greatly on high culture – just like other centers of power including Nara. Instead, Hakuin took the teachings of Rinzai Buddhism to the rural poor and extolled the virtues of Zen Buddhism based on lectures to other classes in society.

Hakuin said, “At the bottom of great doubt lies great awakening. If you doubt fully, you will awaken fully.”

Another saying, close to the heart of Hakuin, was “Contemplation within activity is a million times better than contemplation within stillness.”

In the world of art, calligraphy, and literature related to Zen Buddhism, then Hakuin fused these elements in order to reach out to the masses in multiple ways. Indeed, he wrote with great passion and in haste during the late stages of his life. Similarly, despite Hakuin being deemed one of the greatest Zen Buddhist painters of Japan, he only focused seriously on this area of his life when he was nearing sixty years of age.

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THE ART-MEDITATION CONNECTION

Below I have reprinted an inspiring article sent to me by Jake Roshi.  The article very much supports what Jake has been saying for years; that a mindful commitment to any activity that requires practice can be a “teacher”.  This may include what we traditionally define as “art” but can include any activity (cooking, gardening, accounting etc.) that entails practice with the goal of doing it “artfully”.
Below are links to past articles published in Art and Zen Today that speak directly to this connection between artistic practice and “meditative” practice.  There are many more and I suggest you explore the Archives.
——————————————————————————————–
http://artandzentoday.com/?p=3179   Myths about the nature of “Talent”

http://artandzentoday.com/?p=3121 Art and Mindfulness

http://artandzentoday.com/?p=3121  Improvization in music and Zen.

http://artandzentoday.com/?p=1830  Trumpet practice and Zen  practice  #2

http://artandzentoday.com/?p=1788  Trumpet practice and Zen Practice #1

http://artandzentoday.com/?p=1147 The Art of being present.

http://artandzentoday.com/?p=124  Art, Zen and Creativity

———————————————————————————————-

And now to the article, which was originally printed in The Washington Post.

Why making art is the new meditation

By Maia Gambis August 25, 2015

Photo by iStock

Many of us have heard about the benefits of meditation, but sometimes find it hard to do.  Fewer of us know about the profound benefits of artistic expression. Creating art, however, is another way to access a meditative state of mind and the profound healing it brings. 

“Art is a guarantee to sanity,” said Louise Bourgeois, a French-American artist who died in 2010 at the age of 98. She even went on to add, “…This is the most important thing I have said.” For Bourgeois, art — making art — was a tool for coping with overwhelming emotion. She says she remembers making small sculptures out of bread crumbs at the dinner table when she was a little girl – as a way of dealing with her dominating father. Art was more than an escape – it kept her sane.

Art therapy has a healing effect for a variety of ailments, including depression, trauma and illness. and is effective across age, gender or ethnicity. In a recent study of cancer patients, an art therapy intervention — in conjunction with conventional treatments like chemotherapy and radiation — not only diminished symptoms typically associated with cancer such as pain, fatigue and anxiety, but also enhanced life expectancy. The study, its authors said, was based on the belief that “the creative process involved in the making of art is healing and life-enhancing. It is used to help patients, or their families, increase awareness of self, cope with symptoms, and adapt to stressful and traumatic experiences.” 

Art is not only healing for individuals suffering from severe illness. Here are four reasons why creative activity is such a potent recipe for psychological well-being:

1. Art is a vehicle for meditation and self-connection

Most of us can understand that art provides an escape to a sometimes harsh reality, but where does art’s healing potential come from? It impacts the state of our minds: Enjoying emotional stability is largely about taking responsibility for how we feel.

Research has shown the power of meditation and the science behind it. One of the reasons it is so powerful is that it fosters acceptance. Creating art is a type of meditation, an  active training of the mind that increase awareness and emphasizes acceptance of feelings and thoughts without judgment and relaxation of body and mind.

Art, like meditation, allows us to create space between our often negative, anxious thoughts and connect with our true selves – as opposed to with the fleeting or false sense of identity we sometimes have when we are caught up in our thoughts and emotions. Eckhart Tolle, spiritual teacher, writes: “Identification with thoughts and the emotions that go with those thoughts creates a false mind-made sense of self, conditioned by the past… This false self is never happy or fulfilled for long. Its normal state is one of unease, fear, insufficiency, and non-fulfillment.” Creating art is about reaching a state of consciousness and breaking free from the constant debilitating chatter of the mind.

Similarly to meditation, art can help us tap into a deeper and more quiet part of ourselves. We enter into a state of flow and present-moment awareness. “All true artists, whether they know it or not, create from a place of no-mind, from inner stillness,” Tolle writes. Artists experience that creative activity has the potential to tap into a space of true consciousness of being, void of interpretation. In this space, there can be a sense of having no physical parameters; no body, or form to separate one from the other. 

3. Art allows for true self-expression

The process of making art overrides the need for verbal communication. Creativity is its own language and enables humans to connect with one another — and themselves — on a non-verbal level. In therapy it can be an effective way of saying the unspeakable as is shown through the use of creative therapies with children. This also explains how we can be moved to the core when looking at a work of art, or even listening to music, without necessarily knowing the specifics about its origin. Art exists within its own non-verbal parameter and thus frees us up for unadulterated self-expression.

4. Art helps us become steady and centered

As a plus, it is interesting to note that Bourgeois, when asked to comment on her extensive body of work spanning her entire lifetime, says what impresses her most  “is how constant [I] have been.” Perhaps we need to redefine what we consider to be a storybook happy ending. Happiness may be less a matter of experiencing sharp highs (often followed by deep lows), and more a matter of nurturing a space that provides stability and a constant connection to our true selves.

 

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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“A ROSHI NAMED JAKE GAVE ME A SNAKE” : SHUSO PERFORMANCE # 1.

Below is a link to my first rap performance in response to my Shuso Koan (see:  http://artandzentoday.com/?p=4380     ).  There are three pieces of information that might make my rap a bit more meaningful.  The first is that, following Zen tradition, the Shuso Hossen ceremony started off with my teacher handing me a Shippei;  a staff that is a  symbol of a Zen master’s authority.  I held the Shippei before the audience and spoke the following worlds:

“This is a 3 foot long black snake. A long time ago it had become a konpura flower on Mt Gudrakuta, and on Mt. Shorin it had become plum blossom.  Sometimes it transforms into a dragon and swallows heaven and earth.  Sometimes it transforms into a diamond sword with freedom to kill and give life.  Right now, in accord with the order of my teacher, it lies in my hands.  I feel like a mosquito trying to bite an iron bull.  However, being assigned as head trainee, I have to fulfill my duties”.

Secondly, in a series of lectures leading up to the Shuso Hossen Ceremony, I explored the nature and function of Zen ritual.  I spent a great deal of time in these lectures discussing an article entitled “Rituals” by Robert Sharf.  The author suggests that it is useful to view rituals as a form of transubstantiation where the participants understand that many aspects of their ritual activities are a form of play and yet can be taken seriously. He says that just as a child who uses a stick to represent a horse when playing cowboys understands that the stick is not really a horse, ritual participants act “as if” certain things are true or real, while knowing that it is only “as if”.  The most common example of this is the idea in communion that the wine offered by the priest is the blood of Christ.  I suggested, in my lectures, that engaging in the “as ifness” of rituals can be a way of learning to remain engaged in everyday life while not being attached (i.e. in society by not of society). To see two earlier posts on “transubstantiation”, type that term in the Search Box on the right and hit “enter” on your computer.

The third  item that might be helpful to look at before watching the video is a poem written by Jake Roshi several years ago and published on this site in an article titled “Poems and  Images of Five Vista Zen Center Artists”  (see:   http://artandzentoday.com/?p=3541     ).  The poem is not long but it is laid out in a visually interesting way and so you have to scroll down a bit to get to the video.

 

 No Choice?

By Jake Roshi

The Way is not difficult

for those who do not pick and choose.

The Way is not difficult

for those who do pick and choose.

When you walk the Way,

just walk the Way.

It is not near,

it is not far.

It just is.

Just do not get in the way

of the Way.

Or, Just get in the way

of the Way.

Either way Is the Way.

Either way is.

Either way

Is neither

The Way

Nor not

the

Way.

I think I’ll go away

Now.

Click on link below to watch the video:

https://youtu.be/x0q15sWm77I

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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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MUSIC, TRANCE AND MINDFULNESS

My last post  contained a music video called “Dronology 101: Tongue in Cheek – Drool on Desk” (scroll down to read) and prompted a couple of interesting responses from readers.  In this post I want to start to address these remarks.  You can read the comments by Charles and James by looking in the Replies Section to the Right.

I can’t tell you how many times I feel asleep while working on this music video; often waking up with a smile on my face at the irony of me falling asleep during an art piece that I hoped would capture the interest of an audience.  Granted, unlike Charlie, I did not usually work on this after drinking coffee.  For me, the video was a metaphor for the painful process of waking up (i.e. becoming perpetually mindful) in the Buddhist’s sense.  So having practiced Zen for over 10 years, I identified with each and every one of the people and animals in the  video.  However, as an artist I am also interested in whether art and music can and should strive to induce mindfulness among viewers/listeners and this interest is behind the current series of posts.

 

Like Charlie, I have difficulty with most minimalist music, finding that I either tune it out and start thinking about something else, fall into reverie or physically fall asleep.  On the other hand, like James, I like the use of drones if and when there is something else going on in the music.  This, of course, is just my opinion and could see someone making the argument that even in the most  repetitive of music, one should be able to mindfully find variety and nuisance enough to maintain their attention (See Langer’s take on “mindfulness by using the Search feature on this site).  I once attended an Aftican Drum class where the instructor had each of us playing a simple repetitive pattern over and over.  As a jazz drummer, I kept hearing complicated riffs that I wanted to play.  Not being allow to do this I, at first, become bored and wanted to leave.  However, after about 15 minutes of this process, I suddenly became aware of what other drummers were doing and how my simple part contributed to the larger whole.  As I let go of my personal needs and interests, I shifted temporarily into a non-ordinary state of consciousness, a trance, to use a term that Charles brought up in his comment.

Because drones and repetitive drum patterns often accompany trance states in traditional societies, Westerner scholars have spent a lot of ink trying to account for the relationship between music and trance.  Part of the problem is that the term “trance” has no universally agreed upon definition and the nature of the trance state (both external behavior and phenomenology) varies greatly from culture to culture. Efforts to find a universal psycho physiological marker of trance has lead only  to the observation that in a trance a person is deeply relaxed but not asleep.   Summaries of studies of the music-trance connection suggest that  the most that can be said is that music can lead  to trance if and when those participating (ie. playing instruments, singing, dancing or simply witnessing,) want to and expect to go into a trance. If you play a drone instrument within hearing distance of someone, for instance, they will not automatically go into a trance. 

This is similar to hypnosis; a subject will go into a trance only if he or she allows that to happen.  I once volunteered to be a subject in a class  I was taking in hypnosis.  The teacher guided me through a variety of relaxing procedures and I willingly allowed myself to become completely relaxed, although I was aware of the teacher’s voice and aware that other students were watching.  Once relaxed, I felt very comfortable and did not worry about what I was going be asked to do or about what the others were thinking about me.  The usual thought processes slowed down and although I was aware of the teacher’s voice, I felt like I was in a state of “semi-awareness” (to use the term in Dronology 101).  At some point she told me that she was going to ask me my address and that I would not be able to remember it.  I recall briefly thinking to myself something like: “I could remember that if I wanted to but it would take too much effort and would require moving out of this wonderful relaxed state”.  So there was a conscious decision on my part to play along with the hypnotist’s request and not try to come up with my address, even if others might think that my inability to do so meant that I was deficient in some way.

 

As I said the term “trance” is not well defined and seems to refer to a wide range of situations where, temporarily, the usual left brain process slow down or stop completely. Since our left brain processes are responsible for how we define ourselves, we often strive to keep them going and view any shift away from their dominance as a cause for concern.  This can happen in minor ways when we forget something we should know or do something absentmindedly.  However, sometimes, more than most people acknowledge, we experience marked shifts of this nature.  In Western culture, where left brain dominance is almost universally considered to be the norm, shifts in consciousness of this nature are viewed as signs of mental illness or procession or some other undesirable phenomenon.  It is generally agreed that a person’s specific experience during such shifts of consciousness and their understanding and reaction to it afterwards, depends on their mental set and the setting during the incident.  This idea was especially useful in understanding altered states attained by using psychotropic drugs, but has also been used to describe shifts occurring under non-drug induced situations.

With regard to “setting”, a person who has this kind of experience in a church may well experience it and understand it as a “religious” experience of some sort.  In some cultures, such experiences a viewed as instances of possession by some foreign entity or spirit.  In traditional societies where trance is common and accepted, it is not seen as a big deal.  However, in the West, where there is no appropriate set and setting, it can be frightening.

When the Set and Setting is Right, even Westerners can enjoy TRANCE.

Apparently it is rather common in the West for youth to have such experiences spontaneously but as Maslow found most end up denying or forgetting them since they were experienced as a dangerous loss of self-control.  I recall when I was around 10 or 11 having two experiences of this type; they both took place when I was on my own and in a large crowd of strangers.  I did not freak out but, I remember being concerned about what was going on afterwards.  As it turns out, my best childhood friend, a guy who was mature,  smart and creative for his age, also had had similar experiences and also had a name (“trance”) for them.  And so we would sometimes sit around and discuss our trance experiences.  I recall that it was quite comforting to me to have a name for these experiences and to know that I was not the only one who had them.   Although I did not think in these terms back then, I believe that my friend and I realized, at a rather early age, that what most people accept as normal consciousness is a limited way of being.  I feel grateful to my friend for helping me attain this insight at such an early age; most kids seem to discover this later through the use of psychotropic drugs or not at all.  I like to think that this friend was also responsible for my later academic interest in altered states of consciousness and in Eastern meditation practices.

 

So does meditation involve going into a trance?  Again, it depends upon your definition but in Eastern spiritual disciplines the state is referred to as Samadhi and is sometimes translated as “trance”.  It is understood that Samadhi is something that can vary in intensity but essentially involves the kind of slowing down or diminishing of left-brain thought processes that I described above.  When this happens, one expands awareness or consciousness beyond the internal dialogue that is thought to be normal consciousness.  From my understanding of the literature, this mode of consciousness, the awakened consciousness, will gradually become the normal, everyday consciousness of those who consistently practice meditation and other practices.  Using the word trance to describe this state is misleading because of what we usually associate with this term (stupor, unconscious, sleep etc.).  The Zen state does not necessarily entail a curtailing of left-brain activities but rather an opening up (See Fehmi’ on “Open focused experiences” by using SEARCH on this Site) to right brain activities in a balanced form (see James Olson”s  The Whole-Brain Path To Peace).  Doing so allows one to respond to whatever is happening in the present moment and not be “ruled”, so to speak by old conditioned responses that govern the left-brain. This is what “mindfulness” is all about.

Whether or not we use the term “trance” to refer to these kinds of shifts in consciousness, I believe it is accurate to say that they can vary in intensity. It may be best to avoid that word altogether simply because it carries some negative connotations in the West where generally, at least until recently, right-brain thinking has been considered normal and variations away from this as problematic.  I should add that such a shift can be problematic depending on the situation.  As Charles rightly points out, moving out of right-brain attentiveness to a lecture can negatively affect a student’s grade.  Stopping to groove to music being played in a department store while there is a fire is not a mindful choice.  So, yes, what we are referring to as trances could be dangerous under certain circumstances.  On the other hand, vigilantly maintaining a self-protective left-brained orientation can be harmful to one’s health  

 

This leads back to the issues raise by both James and Charles regarding the function of repetitiveness in music and how this may affect mindful listening.  However, the “Dronometer” on my computer is alerting me to the fact that this post has gone on too long.  So, I plan to return to this at a later date.  Before I sign off, let me just say that I believe that someone listening to music can experience this left to right brain shift that I have been talking about.  There has to be a reason the music is a dominate form of entertainment in almost all cultures. The term “entertaining” has come to refer to anything that “engages or keeps our attention”.  If we are attentive to (mindful of) what we are listening to we are not attending to (or listening to) the internal dialogue that comprises our left-brain thought processes.  And so the degree to which we become entranced or mindful of a musical performance can vary greatly.  In the next post, I want to look at what it might look like to consciously practice mindful listening and riff a little bit about James’ comment on the use of repetition in music.

 

 

 

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AARON COPLAND ON MINDFUL LISTENING

 

My guest blogger today is Aaron Copland (1900-1990), one of the most respected American classical composers of the twentieth century. By incorporating popular forms of American music such as jazz and folk into his compositions, he created pieces both exceptional and innovative. As a spokesman for the advancement of indigenous American music, Copland made great strides in liberating it from European influence.  Not only did he write symphonies, ballets and film scores, he was a scholar, critic, writer and teacher.  The passage below is from one of his books called “What to Listen for in Music”. (Thanks to Jake Roshi for sending this my way.)    Interspersed between quotes from Copland’s book, I have included some comments (in italics) that reflect some personal thoughts on his ideas. 

                                                                 

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The first prerequisite for listening to music is so obvious that it almost seems ludicrous to mention, yet it is often the single element that is absent: to pay attention and to give the music your concentrated effort as an active listener.

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 (As a musician, I might add that learning to pay attention to the sounds you are making is an essential skill in learning to play any instrument.  In future posts, I will review a couple of books that make the case that mindfulness is key to masterful performance on any instrument)
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It is revealing to compare the actions of theater audiences to those of symphonic audiences. In the theater the audience listens with full attention to every line of the play, knowing that if important lines are missed understanding can be diminished-this instinctive attention is too often lacking in the concert hall.

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(This statement fascinates me as it makes me wonder whether composers/performers can do more to help make the audience listen more mindfully.  This will be a theme I will return to in later posts.  Since, of late I have been experimenting with pairing video with music, I found it interesting that John Cage wrote the following, in an essay describing his approach to sound and music:

       Where do we go from here? Towards theatre. 

       That art more than music resembles nature.                             We have eyes as well as ears, and it is

      our business while we are alive to use them.”

      Pg. 12 in Silence by John Cage.

This suggests that the pairing of visual imagery and sound may be one way to foster mindfulness in the audience.  Particularly, in the creation of music videos, this seems to raise the question of how to combine visual stimuli and sound in ways that one does not take precedence over the other.  If the video portion has a strong narrative element to it , the music may become merely a backdrop much like a film score.  On the other hand if the music is so compelling as to draw in most listeners, there may be no need for visuals at all.  I am wondering whether music/videos can be created where the visual and sound aspects are equally important and mutually supportive in fostering mindful attentiveness on the part of the audience.  This wondering will most likely be in my mind as I work on future projects.)

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One has but to observe listeners at a concert to witness the distractions of talking or reading or simply staring into space.


Only a small percentage are vitally concerned with the essential role of active listening. 

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.(Remember the above was written years before the appearance of cell phones and other devices of distraction that prevail today.)
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This lack is serious because the listener is essential to the process of music; music after all consists of the composer, the performer and the listener. Each of these three elements should be present in the most ideal way. We expect a fine composition brilliantly performed, but how often do we think it should also be brilliantly heard?

The destiny of a piece of music, while basically in the hands of the composer and performer, also depends on the attitude and ability of the listener. It is the listener in the larger sense who dictates the ultimate acceptance or rejection of the composition and performer…Unfortunately for music, many listeners are content to sit in an emotional bath and limit their reaction to music to the sensual element of being surrounded by sounds. But the sounds are organized; the sounds have intellectual as well as emotional appeal.
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(I think Copland’s use of the term “intellectual” here is unfortunate.  I don’t believe that he is suggesting that mindful listening entails protracted left-brain/discursive thinking.  I believe it is more accurate to say that mindfulness entails “whole brain thinking” (Olson, The Whole-brain Path to Peace) or “open focused attention” (see earlier post called “HAVE YOURSELF A MERRY OPENED- FOCUS EXPERIENCE WHILE READING THIS POST!”    ) where so called left and right brain processes are working interdependently.  Langer seems to capture the so called “intellectual” aspect of mindfulness by describing it as “”drawing novel distinctions..”noticing new things” and “seeing the similarities in things thought different and the differences in thing taken to be similar”.  (pgs. 5 and16, On Becoming an Artist,  For more on Langer, use the blog search box, using her name or “mindfulness”   )

Various mindfulness practices that accompany spiritual disciplines seem to encourage practioners not to be so immersed in left-brain thinking that they are out of touch with their right brains.  Mindfulness practices thus helps to increase one’s awareness and sensitivity to feeling and emotions that were previously beyond awareness.  However, my understanding is that the aim is to expand consciousness to include sensations often unnoticed but not necessarily to do away with the capacity for left brain functioning. 

When we mindfully expose ourselves to visual art or music, having a grasp of the choices available to and made by the artist, is a part of our appreciating the art piece or performance.  Appreciating an art piece  does not necessarily entail “liking” it, but may involve having an understanding of the historical, social, and personal reasons why the work unfolds as it does, along with an awareness of how one personally is responding and why.  


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The adventure of learning how to listen to music is one of the great joys of exposure to this art…Your efforts to understand more of what is taking place will be rewarded a thousand-fold in the intense pleasure and increased interest you will find.

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I believe that what Copland says above can be extrapolated to the benefits of mindfulness in all aspects of life, not just music.

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1700 Koans

This week’s guest blogger is Jake Jiyu Gage, Roshi.  He wrote a reply to my last post entitled “What Are You Presently Listening to?”  Because his response was in the form of a poem, I decided to publish it as a post.  Since poetry is one of the most useful expressions of a spiritual practioner’s inner experiences, there has been a  close association of Zen and poetry throughout history.  If you haven’t already, I would suggest that you read the previous post before enjoying the poem below.  For those unfamiliar with Zen, the description of Koans, below the poem, may be helpful.  Jake is
the founder of the The Vista Zen Center in Vista California.
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“What Am I Listening to Presently”
featuring Jake Jiyu Gage 
and
The Hotei-ji Chamber Orchestra
    (with special thanks to “System
     of a Down”)
1700 Koans*
1700 Koans
Going off
All at once
In the Zen Symphony
Known as:
“What Am I presently listening to?”
Each Koan
Different:
In Name
In Number
In Collection Found
In Tone
In Duration
In Dynamics
In Frequency
In Beginning
In Middling
In Ending
In Trailing Off
In Disappearing
In Reappearing
In Main Case
In Commentary
In Capping Phrase
In Resolution
In Acceptance
Or
In Denial
Ring, Ring, Ring
In Starting Over
In Trying Again
In Gaining Acceptance
No Ringing
*Koans (from Chinese kung-an, literally “public notice,” or “public announcement”) are based on anecdotes of Zen (Chinese: Ch’an) masters. There are said to be 1,700 koans in all. The two major collections are the Pi-yen lu (Chinese: “Blue Cliff Records”; Japanese: Hekigan-roku), consisting of 100 koans selected and commented on by a Chinese priest, Yüan-wu, in 1125 on the basis of an earlier compilation; and the Wu-men kuan (Japanese: Mumon-kan), a collection of 48 koans compiled in 1228 by the Chinese priest Hui-k’ai (known also as Wu-men)
in Zen Buddhism of Japan, a succinct paradoxical statement or question used as a meditation discipline for novices, particularly in the Rinzai sect. The effort to “solve” a koan is intended to exhaust the analytic intellect and the egoistic will, readying the mind to entertain an appropriate response on the intuitive level. Each such exercise constitutes both a communication of some aspect of Zen experience and a test of the novice’s competence. A well known koan is: “What is the sound of one hand clapping?
                                                                              

Here is an old Zen story I just found that seems to relate to Roshi’s Poem.

The disciple was always complaining to his master, “you are hiding the final secret of Zen from me.” And he would not accept the master’s denials. One day they were walking in the hills when they heard a bird sing.

“Did you hear that bird sing?” said the master. “Yes” said the disciple.

“Well now you know that I have hidden nothing from you” “Yes.”

 

                          

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