“Absurd It Thru The Vape Grind” By Eureka Magicka and the Vape Grind Dancers

If you think that things of late have seemed a bit absurd, this short music video (see below) might be for you.  It’s called “Absurd it Thru the Vape Grind” by Eureka Magicka and the Vape Grind Dancers.  If the title seems absurd, it will start to make sense if you watch to the very end.  As always, please watch on full screen mode with stereo speakers or headphones for enhanced enjoyment.  You can see related videos on the “Art and Zen Today” Youtube Channel.

Eureka Garden Episode #5: Language of the Birds

Over the past couple of years, sculptures that resemble what I imagine might be produced by the very first artists on earth, have passed through my studio.  Many who see them either ask me why they were created or suggest that I undertake some sort of inquiry as to why they have appeared in my life.  While the idea of having some sort of dialogue with these creatures appeals to me- after all, Carl Jung did this with his art during the development of a process he called “active imagination”- I’ve yet to follow through on such a project.  I’m not sure whether it is because I’m lazy or because I am in accord with Thomas Moore who wrote:

Usually when we explain a painting precisely, its mystery vanishes

along with its value.  The very point of a good painting is to keep

us wondering, asking questions, offering interpretations and

contemplating.

Who knows?  I may eventually end up doing some of this Jungian analysis where I treat these creations as archetypes and inquire into why they exist.  For now, I am having fun creating new art using this strange cast of characters.  I invite you to follow the link below to a video where some of these creatures show up.  It’s called Eureka Garden Episode 5: Language of the Birds. I’d suggest listening with high quality headphones.

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EUREKA MOMENTS: EPISODE 2, EVERYDAY COLLABORATION

Most days my wife and I will have several conversations about changes we want to make in the garden; changes in planting or the placement of art objects.  Most of the time, I do not have my video camera at hand.  The video featured in today’s post consists of those rare times when I did remember to record our efforts. Most of the “collaborations” captured in the video are continuations of earlier conversations and so the full context may not always be evident.  However, I hope you enjoy “Eureka Moments #2: Everyday Collaboration”.  You can see the video by clicking on the link below: https://youtu.be/z6ncpQcCrvE

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“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

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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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 Ceremony: Eric Kuniholm Reads Short Story “Ziggy”.

Today’s posting is a video of Eric Kuniholm reading a short story called “Ziggy”.  It is a part of a novel that Eric is writing that is about dog detectives.  Eric has been associated with theVistaZenCenterfor 20 years and brings his Zen insights to his writings.  You can see this video  at the link below:

 

https://www.youtube.com/watch?v=X2DzjK6b9hk

 

Recent posts on the Art and Zen Today site have involved segments from my Shuso Hossen Ceremony in March of 2016.  The last post was a video of the last of my musical performance during the ceremony. Last I looked, the count of those viewing the video was unusually low. So, if you haven’t already, you may want to view this one as it is really the most straightforward response to the Shuso Koan of all my performances.  (See this video , titled “Art and the Four Vows” at:

 

https://www.youtube.com/watch?v=cr_1080EtN8

 

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AARP: A MUSIC/VIDEO PARODY OF “LOUIE LOUIE”

We are all aging but most of us don’t start worrying about it until we

receive an invitation to join AARP.  Although you can’t stop the aging

process, I find that it does help to maintain a sense of humor about

it all.  Thus, the Rap/Music/Video below as performed by “The Senior Moments”.  I hope you enjoy it.  It appears that the hyperlink below is not working so you may have to copy

the address below and paste it in your Browser.

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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