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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WHAT ARE YOU PRESENTLY LISTENING TO?

WHAT ARE YOU PRESENTLY LISTENING TO?

My guess is that most people answering this question would remove their headphones and provide the name of the bands currently cued up on their listening device.  But based on some articles I have been reading lately, the question is somewhat deeper than that (more like “what is the sound of one hand clapping” deep).  It points to how we respond to music (and sound in general) and trying to answer it can help us better understand both creative and spiritual practices.

It has been a while since my last post.  It’s not that my left brain hasn’t been coming up with stuff to write (maybe I should call it my “Write Brain”).  Rather it is that my right brain has been “compelling” me to spend time learning how to use the new music production software I purchased several months ago.  I have spend most of my “creative time” playing with this program, happily trying out all kinds of wild stuff, not at all concerned about whether it will ever be heard or liked by others.

Much of what I have come up with in my experimental creations does not neatly fit into most of the categories used to describe music; in fact it is not even clear that it is music.  So, recently the left brain started pestering me to find some sort of label for whatever it is I am doing.  By the way, this questioning seems to be rooted in the basic left brain concerns about whether what I was doing was worthwhile or “good” or whether it would be understandable to others.  Anyway, I started to do some research on the internet and so this, and subsequent blog posts, will be inspired by the reading I have done.  I’ll be quoting and paraphrasing heavily from some of the articles I’ve discovered. And, as always, I will try to point to some links with the practice of Zen, where I can.

An article by Robert Worby titled “An Introduction to Sound Art” suggests that maybe what I have been doing is best categorized as “Sound Art”. (http://www.robertworby.com/writing/an-introduction-to-sound-art)   In reality, it probably doesn’t matter how my work is labeled.  At some point I may post some examples and let you decide what it is, but, for now, let’s look at what Worby has to say about “sound art”.  I think his ideas are relevant  to those interested in any kind of artistic practice or any kind of spiritual practice where one attempts to be more in touch with the senses.

Worby starts off by examining the nature of sound (it is extremely impermanent as you Zen practioners might suspect) and by differentiating between the process of “hearing” and the process of “listening”.  According to Worby:

Sound is constantly pouring into our ears. Most of it goes unnoticed because we are not listening to it. Listening occurs when we become conscious of sound and connect with it. We hear it and we engage our intellect, our emotions, our memory and many other faculties. Hearing is a physical process, listening is a psychological act. And when we listen to sound we are beginning the process of generating meaning with it. If we are listening properly our curiosity is aroused and we might begin to ask questions about the sound; not just the usual questions about what produced the sound but questions about what we are hearing: How loud is it? For how long does it continue? Is it pitched? If it is pitched, how high is it? How low is it? How far away is it? Is it moving? In which direction? How fast? Is it changing? How is it changing? What is changing? And, if there is more than one sound, how many sounds are there? How do they relate to one another? How do individual sounds relate to the mass of sound? There are many, many questions of this type we can ask and, if we ask them, they help us to perceive sounds with greater clarity. This aroused perception generates more detail and raises our consciousness. We have more to say about sound and we can comprehend it in greater detail. All of this may, in turn, help us to generate feelings about what we can hear and it may help to generate meaning from what we are able to hear.(Underlines are mine.)

Worby goes on to say:

Listening is an art. It is an art just as composing and performing are arts. Listening involves action, we cannot listen and remain passive. If we are passive and uninvolved then we are only hearing. Listening is creative and it is this auditory creativity that has given rise to what is now called sound art.

Although Worby looks at a variety of historical sources of “sound art”, he pays particular attention to the work of John Cage, who expressly connected his art and his practice of Zen (Search for previous posts on this topic by entering keywords Cage or Duchamp).  In general, I think, Cage’s work, even if he called it “music” rather than “sound art” can be seen as raising the kinds of questions that Worby says in the previous quotation are raised when we really start to listen to sounds.  According to Worby:

 Cage’s most notorious piece is commonly known as ‘4’ 33”’. It is in three movements (a very conventional Western musical structure) and the notation for each movement simply reads ‘Tacet’. This is the musical term meaning ‘Be silent’. Cage is asking the performer to be silent for three consecutive movements. The piece does not instruct the performer to ‘do nothing’ (a common misconception) but it does require the performer to ‘be silent’. During the first performance, in 1952, the pianist, David Tudor, indicated the passage of the three movements by closing the piano lid at the beginning of each movement and opening it at the end. Hopefully he made no sound. But there was plenty to hear. Four minutes thirty three seconds is quite a long time, for an unsuspecting public, to sit and listen. The sound of the audience twitching, coughing and nervously shuffling filled the space and sounds drifted into the auditorium from outside. Cage had outlined a situation in which sound could be heard but he had no control over those sounds. The conventional roles of composer, performer and listener had been completely subverted. It was difficult to say who was the composer or who was the performer or who was the listener. The listeners were making the sounds so, in conventional terms, they were the performers. The performer, David Tudor, was also a listener. The composer had no hand in crafting what was heard, this was done entirely by the listeners, so, in effect, they were the composers. Cage had turned conventional music making inside out.

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Composing is one thing, performing is another, listening is yet a third. What can they have to do with one another?”  John Cage

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From today’s perspective, the performance of Cage’s 4′ 33″ seems rather contrived and passé, much like Duchamp’s hanging of an urinal at an art show (Search for previous posts on this topic using the keyword “Cage” or “Duchamp”).  Although those attending the first performance of Cage’s piece may have been shocked into pondering questions about the nature of sound and music, most people today would attend because it was the cool thing to do.  However contrived they seem now, both Cage and Duchamp managed to call attention to the importance of the mental attitude of the audience and both had a profound effect on how artists approached their practices since then.  I think that it is no accident that both of these guys were influenced by their knowledge of Buddhist philosophy and practice.

Cage with D. T. Suzuki

It’s not clear to me whether Cage actually used the term “sound art” to describe his work but the term has consistently been used that way by others.  So, exactly what is sound art?  

At this point it appears that the term “sound art” refers to a diverse set of practices (ranging from Dada nonsense poetry to recording of natural sounds at various sites) and there is still no clear distinction between “sound art” and “music”. (Below I have links to 3 short videos to provide some examples of  “sound art”.)  The term “experimental music” is often used to characterize musical compositions that veer away from conventional ideas about music, but I would be hard pressed to describe the distinction.  In Worby’s words:

 The multiple threads of sound art practice weave a fabulously rich tapestry. It celebrates the ear in a world that we mostly perceive with our eyes. Language, our tool for thought, is very much orientated towards what we can see. Sound art encourages us to listen, it sharpens the ears and the imagination and so develops what it is to be human.

Cage at the Piano

While any piece of music can have these effects, it seems that “sound artists” see the main goal of their creative endeavor as encouraging real listening.  Whether someone truly “listens” to music or any other sounds depends upon the person’s mental set.  Sound art, as I understand it, is designed to make it induce listening as Worby has defined it.  In future posts I will consider the writings of other authors who have used the terms “deep listening” and “mindful listening” to seemly capture the essence of what Worby is saying.

Since Zen and other spiritual disciplines encourage practioners to be mindfully present and aware and a wide variety of situations, I would suggest that these disciplines share a common goals with much of what might be called sound art (this is most clear in the case of John Cage).  In future post’s I’ll be exploring how music/sound can become a mindfulness practice and looking material suggesting that mindfulness practice can enhance our listening to sounds/music and that listening can increase our mindfulness.

Personally, although I can appreciate the goal of making me more active in the process of listening, I find a lot of sound art and experimental music to be rather irritating; I’m sure I would have been one of the first people out the door at the first performance of Cage’s 4′ 33″.  Doing all of this reading and thinking (thanks left brain!) has led me to wonder whether I can create sounds that are musical and yet can raise listerner’s awareness in the manner that Worby has described.  That is, can sound art be engaging/entertaining and still be consciousness expanding? Maybe it really doesn’t matter as long as I am having fun doing it (thank you right brain!)

 Check out these short videos showing some examples of “sound art”.  Also see my previous post titled “Border Music by Glenn Weyant”

 

https://www.youtube.com/watch?v=23dBLgKTw0s

https://www.youtube.com/watch?v=B6bZWfrKmIg

https://www.youtube.com/watch?v=HNM37dnKnyc&list=PLMrY5LKrAJRrsRzb9OSPbneiUzshjkyfi&index=4

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MODERN MUD MEN

STILL FROM VIDEO “MODERN MUD MEN”

Over the past month I received numerous announcements that artists were invited to submit work for consideration by the curators of the 2014  International Artexpo  in Spain.  I usually ignore such calls for submissions but the description of the theme for this year’s exhibit captured my interest: Borderland – Hidden Identities & Forbidden Desires

The reason my interest was piqued is that this was the first exhibit where I felt my video “Modern Mud Men” might fit in.  Apparently the curators felt that way also because the video was accepted to be shown.  The exhibit will be held in Zaragoza (Spain) at Club Nàutico De Zaragoza, from the 05 to the 13 of April 2014, and in Almeria (Spain), at MECA Mediterráneo Centro Artístico, during the 11 and the 26 of April 2014 (video screening only).  Since I realize that most of my readers have probably already booked their annual trips to Europe for this year, I made arrangements for you to see “Modern Mud Men” free on this site.

Mud Men of New Guinea

The “Modern Mud Men” video came about after I read a review of a video that someone made about the Mud Men of New Guinea (see picture above).  I set out to try to find this video on the internet but never found it.  What I did find instead are the self-recorded video clips that make up “Modern Mud Men”.  This video is a composite of mostly self-recorded experiences of men enjoying the sensual/auto-erotic pleasures of wallowing in mud.  It provides a rare look at men engaging in an activity that seemly allows them self-indulgent pleasures usually reserved for females. Although I found videos of women wallowing in mud on the internet, they were never alone and do not display the earnestness of the men shown in these clips. In most cases the enjoyment of mud is carried out away from the public’s eye and yet the videos were made public.  The original music that accompanies the video was inspired by the strangeness and yet naturalness and beauty of this kind of play.  Click on link below:

http://vimeo.com/34280061

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NEVER BEFORE SEEN GRAMMY PERFORMANCE

Here is another Art and Zen Today Exclusive; a video of singer Mo King b’s  performance at the Grammys that was deleted because he was supposedly not well received by the audience.

You may never have heard of Mo King b and that suits the producers of the Grammy Awards just fine.  Mo King b’s music was showcased in an earlier video ( http://www.youtube.com/watch?v=tCiVNF-SfPA   ) a couple of years ago and I was shocked to learn that his performance at this year’s Awards was deleted from the tape feed at the last moment.  According to the producers Mo’s performance did not air because “Mo King’s performance was way too experimental and inaccessible for the Grammy audience”.  Paradoxically, Gilbert Mothworthy, of the Dronington Post wrote “b’s music was shockingly imitative and unoriginal causing many people in the theater that night to fall into an altered state of consciousness”.  Click on the link below for this never before seen video of King’s short performance.  For  best results listen in stereo, preferably using headphones.

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Equipment used:  Video camera, Ableton Live 9

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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POEMS AND IMAGES FROM FIVE VISTA ZEN CENTER ARTISTS

For a variety of reasons it seems that artists of all types are drawn to the practice of Zen.  For this installment, I asked four other artists from the Vista Zen Center to join me in providing a pairing of poetry and visual images. Each combination is very different from the others but each reflects the committed practice of the artist.  I hope you take the time to savor each of these pairings.

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We begin with the work of Jiyu Roshi, who is the founder and teacher at The Vista Zen Center.  His digital paintings may be seen at his website.

"No Choice?" Digital Paiting by Jiyu Roshi

 No Choice?

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.

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David Clark’s blogsite “FromThe Lone Oak” is a wonderful showcase of his poetry, often accompanied by visual images.  The image below was created by David on his I Pad.

"Sitting" created by David Clark on his I Pad using "Paper 53 App"

“Sitting”, David Clark

Without Effort

 

Unattended and without effort,

The Earth spins on,

Endlessly describing an arc

Around a star 

That never blinks.

Rain, without urging,

Always finds its way

Back to the sea.

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Jane Mushinsky teaches literature at Mira Costa College and has contributed poems for various publications and poetry readings.  She recently returned from Kenyon Ohio where she had won a spot at the Kenyon Review Summer Poetry Workshop.

Image by Erik Kuniholm and Jane Mushinsky

Still Life

this body i borrowed

eats mostly scraps

seems content

rarely complains.

to keep it neat

i fold it in half, in thirds,

a suit i’m packing for a trip.

this body—not mine per se,

a loaner, the keys on their hook

also not mine—dutifully i wash and wax it,

feeling always the edges fraying,

the delicate etching of rain.

sometimes i look in a train’s window

an unruffled pond or plate glass

adjacent a sidewalk, and see—

not I as such, but this body

going about its business, respiring,

contracting and expanding—

an illusion, I; a conspiracy

the body and the thoughts construct

to feel, perhaps, less lonely,

disparate unmusical spheres.

poor body, a show dog easily lead;

poor mind, banging away in its cell—

no wonder they cling to each other

having nothing in common.

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Jon Wesick works as an engineer but spends a great deal of time, writing, reading and publishing his poems.  More of Jon’s work can be read at:
http://www.vistazencenter.com/vzc-artists/jon-wesicks-poetry-and-fiction   The image below was “picked and chosen” by Jon from Google Images.

 

Chosen by John Wesick

Zen and the Art of Nuclear Structure Physics

The 1p3/2 proton sat in the zendo

of the copper nucleus.

Back straight, eyes downcast,

he stilled his mind to concentrate

on the Absolute and relative.

As the temple bell struck

a passing alpha particle excited

the entire nucleus into a collective,

vibrational state.

“Master! Master!”

The proton burst into Master Neutron’s study.

“I have experienced Oneness!

I now know the Way is like a liquid drop

in which we all move together.”
“Fool!” Master Neutron struck the proton with his staff

sending him into an excited single-particle state.

Nanoseconds later the proton returned to consciousness

looking pale after emitting a gamma ray.

“Your training is to see both Oneness and manyness,”

Master Neutron said. “Recite the Sandokai

and the papers of V.M. Strutinsky until you understand.”

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Steve Wilson is primarily a visual artist whose work may be seen in the Painting Gallery of this blog site.  

"Where Do We Come From? Where Do We Go?", Acrylic on Canvas, Steve Wilson

Where Do We Come From?  Where Do We Go?

Seven Billion of us now

Where do we come from?

Where do we go?

This painting appeared on my canvas one day,

claiming to be a visual answer to these questions.

Maybe it is, but, I can’t put it into words.

I don’t even know how to tell you

where the painting came from.

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Evolution of The Adagio – a therapeutic motion machine

 

 

 

 

Most of you remember a post from the past that looked at the interesting ways that Sean Voisen found to immerse himself in the interstitial areas between art, technology and spirituality.  (See ” Art, Zen and Technology: A Visit With Sean Voisen”)  Today’s post is written by guest blogger James Wilson, who is playing in the same field and looking at similar overlapping areas.

  Yes this is the same James Wilson whose appearance here on earth was largely orchestrated by me in an effort to manifest a life-long playmate. (See “Aliens From Inner Space”)  This is the same guy who used to give me nightmares by shaking his crib all night long in his efforts to “escape” it’s material and confining nature.  He’s been rattling his crib all his life and the post below provides a look at the wondrous possibilities “beyond the crib”.

By James Wilson

When I was still a student in music school at Boston University, I became aware of what I felt to be a subtle motion, or flow, in music that nobody was talking about. It was something slow, smooth, and not a direct component of the usual suspects: rhythm and harmony. At the same time, since I was a student of composition, I was studying the theories of Heinrich Schenker and others who suggested that the great Masters constructed their music with a conscious implementation of “tension and release” within their musical structures. In other words, their compositions would build to a climax, then release the built up tension, repeat again, and so on, taking us, the listener, on a virtual musical and emotional roller-coaster ride. This was also in alignment with what I felt and heard in music.

 

Dr. Norden

Also during this time, I was studying with a wonderful professor at Boston U., Dr. Hugo Norden, who was considered the foremost authority on J.S. Bach, counterpoint, and also on the topic of using the Golden Ratio in music, art, and architecture (“Form: the silent language”, is one of his books on the topic).

The “Golden Ratio”” (also often referred to as: extreme and mean ratio, medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut, and golden number) is exactly that, a mathematical ratio, which is 1:1.618. In music, Dr. Norden theorized that it was used by the Masters (again, consciously), when laying out the form of the piece they were about to write. Basically, the idea is to lay out a piece of music as a function of time. In other words, if you plan for the piece to last, say, 5 minutes, then at minute 3:06 (1/1.618 = .618 * 5 minutes = 3.1, or 3:06 minutes) the composer would make some extraordinary event occur at 3:06 to divide the time line. This might be a jarring modulation, a loud chord, introduction of a second theme, etc.

 

This ratio was also used heavily in architecture, especially during Greek and Roman periods, and even way before the Greeks! Often this ratio was used as the ratio of width to height, i.e.

1 .618: 1.00 = width:height.

 

 

 

 

 

 

 

 

 

 

 

 

This ratio is also often found in nature!:


 

 

Further discussion of the Golden Ratio in nature can be found in a book by Jay Hambidge, entitled “The Elements of Dynamic Symmetry”.

 

 

 

 

 

 

 

 

Authors such as Matila Ghyka, postulate that the Golden Ratio was used by well-known artists:

 

 

 

 

 

 

 

With these forces at work, I wanted to design and build a device that would:

  • Visually display the subtle “motion” I was experiencing when listening to music
  • Visually display the up-and-down/tension-release in music,
  • Incorporate the design principles of the Golden Ratio.

 

To do this, I incorporated another concept that has held fascination for me; the sine curve. The sine curve occurs often in pure and applied mathematics, as well as physics, engineering, signal processing and many other fields. Its most basic form as a function of time (t) is:

 

BTW: For those interested in religious symbols, the key idea here is that the sine curve is formed by the circle as a function of time. Circles commonly represent unity, wholeness, and infinity. Without beginning or end, without sides or corners, the circle is also associated with the number one. In other words, “perfection”, when brought into the flow of time = the sine curve!

 

Original "Adagio"

All this put together, resulted in my building a visual device that moves very slowly in front of the viewer’s eyes. I have named it “The Adagio”. A Video of the Adagio in action, along with a piece by Mozart, can be seen HERE.

The Adagio incorporates the sine curve, as well as Golden Ratios in the dimensions of the container, and in the angle of inclination of the sine curve itself. The slow moving line can be speed adjusted to the correct “flow” of the music, and the upward and downward movement of the lighted line follows the tension and release of the music being played while you watch.

As stated above, the original construction of Adagio was purely as a means to visualize motion-in-music, and to encapsulate the up/down emotional tension in music. It has done this beyond my expectations.

However, almost by accident, the Adagio was used in a biofeedback study at Nova University, in 1978. It was a very well conducted scientific experiment designed to differentiate between activities associated with our right brain hemisphere, and our left-brain hemisphere. It was discovered that by activating the right hemisphere of the experimental subjects, the Adagio has stress-reducing characteristics! A summary of the study can be seen HERE.

I finally have time to explore usage of my invention and am doing a “crowd funding” to build a commercial version of The Adagio. My goal is to:

  • Produce a production model that will be more aesthetically pleasing than the original prototype,
  • Produce a production model with greater durability suitable for consumer use, and
  • A production model constructed with readily available components.

Here’s a concept drawing of what I envision this new commercial version of the Adagio to look like:

 

 

 

 

 

(Click the image above to activate)

You can watch the video about Adagio’s history and potential uses here:

Adagio Therapeutic Motion Lamp – Uses in Dance, Music, Yoga, Meditation

 

I would appreciate any comments/observations you might have.

Readers may be interested in a follow-up post called  “Truth, Faith and B.S. in Art and Zen”  Also past post on the flow experience can be located by typing “flow” into the Search Window.( Or see “To Know Flow or No Flow” and subsequent posts on Flow)

 

BETH MOSKAL MILLIGAN ON SUMI-E PAINTING AND ZEN PRACTICES

Ensoes by Beth Moskal Milligan

 


(The 2000 year-old art form of Japanese brush painting is spiritually rooted in Zen Buddhism.  My friend and fellow Zen student, Beth Moskal Milligan has practiced both Zen and Sumi-e and finds that the two disciplines are mutually supportive in her spiritual growth.  I have asked Beth to be a “guest blogger” for this post.  I think you will find her piece, found below,  a fun, informative and inspiring read. It is also a great example of the “Genjo Practice”, as described in the previous post. Steve Wilson)

Leaping Fish by Beth Moskal Milligan


 

 

Zen tells us to wake up! How does one do that?  One way is to leave a totally familiar environment and move to a strange, new one. That’s the way I started the process-leaving almost heaven-West Virginia for heaven-Southern California. Ocean, desert, palm trees, odd flowering plants, low humidity, altered seasons, day after day of sunshine, multiculturalism, surfing, avocados, abundant wealth (seemingly). I knew 2 people-the friends I was renting from. The rest was an adventure awaiting. But first I had to fall apart. And then in the process of finding the pieces and putting them together in a new way, I came to Zen, specifically the Vista Zen Center.  My son, Ryan, came to live with me and was a practicing Zen student of the San Francisco Zen Center. He had his sitting practice and I was intrigued. I was from a strong Lutheran background and had been involved in the Christian charismatic movement and later became very interested in meditation and the labyrinth, both of which introduced me to the value of silence. When I entered the Vista Zendo (meditation hall)  for the first time, I knew I belonged. A welcoming, strong silence was present there and there were people who believed in its value. I knew this was a place where I could grow from the bottom up, and explore the possibilities that had presented themselves in my new world. The pieces began to come together.

Landscape by Beth Moskal Milligan

One of those pieces was art.  I had been an art major for a year in college but had dropped out after my freshman year. I dabbled in drawing and watercolor a little bit in my adult life but always had a problem with being too judgmental of the work and not able to enjoy the process except for a few brief periods of inspiration. But the desire to create was there, just buried. It was awakened in an art workshop taught by Alessandra at the Zen center and the spark became a flame when I discovered Japanese sumi-e painting. Minimalist and nature-inspired, a technique where every brush stroke counts and taught in a classroom in which the Japanese teacher, Takashi Ijichi,  creates a peaceful and concentrated environment, the focus of which is finding your vision and putting it on paper. The focus is on the process, the result is fun and interesting and occasionally  even looks good. Everyone’s creation is different and uniquely theirs. It is a discipline but it is not onerous.

I take Tuesdays as a day off from work and attend painting class in the afternoon and sit at the Zendo in the evening. The two complement each other;  PRACTICE, DISCIPLINE, FOCUS, DISCOVERY—AND JOY.

Practice Ensoes by Beth Moskal Milligan

PRACTICE  Practice, practice, practice”  my Sumi-e painting teacher, Takashi Ijichi tells us.

“Practice, practice, practice”  my Zen teacher, Jiyu Roshi tells us.

Practice is repetition, repetition is practice.

Practice Bird Heads by Beth Moskal Milligan

"Three Cranes" by Beth Moskal Milligan

DISCIPLINE   Discipline enables the practice, it brings us to the practice in time and in place. It makes the decision for us to come to the practice.  Make the time, prepare a place, enable the process: the painting, the sitting, in the art room, in the Zen Center, at home where the place is ready and waiting, for painting, for sitting.

Beth's Meditation Space

Beth's Painting Space

FOCUS  Pay attention. Be the hawk perched and watching, the flower blooming,  the horse galloping, the mountain standing, the fish swimming and leaping, the enso circling. Be one in the moment with the subject of the painting. Be one in the moment in the stillness of sitting. Practice and Be.

"Bodhidharma Bird in Contemplation" by Beth Moskal Milligan

There are 3 main elements to both my painting practice and my Zen meditation practice. The teacher, the meditation practice, and the Sangha (spiritual community) .  One on one relationship with my teachers is a very valuable part of both practices. During our Zazen sessions, I meet individually with Jiyu Roshi to discuss my practice and progress. During my painting classes, I meet individually with Takashi Ijichi to carefully observe his painting technique as he paints on my individual tablet and answers any questions I might have about the subject.    Sitting meditation occurs in the quiet Zendo. Sumi-e painting is also a form of meditation, we practice in a community library setting.    And each activity involves a Sangha, a group of people dedicated to practicing that unique meditative discipline and who become intertwined with each other through that unique practice.

DISCOVERY   I have discovered that the process, not the results is the important part of these activities. Living in the process and not living for the results enables me to live in the present moment, immersed in the activity. This is very refreshing for body, soul and spirit. And the results are not completely under my control and the results are more often than not, surprising. In a painting, the ink may be absorbed by the paper in a very interesting way or the lights and darks of the ink formed a wave of water or a flower petal that I did not plan.  In Zazen practice, calmness in the face of a difficult situation or a solution to a previously unsolvable problem may present itself unexpectedly.   The terms ‘beginner’s mind’ and ‘non-grasping’ come to mind to describe these occurrences.

"Ocean Waves and Rocks" by Beth Moskal Milligan

JOY   Joy results in being in the process, in creating, in relationship with my teachers and in relationship with the other students and Sangha members, being a part of a long and honored tradition, passed on person to person, no technology needed! Simplicity indeed! Learning, growing, focusing, practicing, discovering. relating—Life.

" Galloping Colt" by Beth Moskal Milligan

 

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ART, ZEN AND TRANSUBSTANTIATION: IT’S LIKE KIND OF CRAZY

Right after I posted the video “What is it (Marcel Duchamp)? (see previous Post), my wife called me from Florida where she was visiting relatives.  She told me that she had just watched it in the company of her six year old grandniece, Catalina.  Apparently after viewing it, Catalina simply said “It’s like kind of crazy”.

 My painting teacher, Sally Pearce, once told me that the most useful critiques of my painting would come from children.  So it occurred to me that I should give this comment some thought.

First, Catalina’s comment brought to mind, a couple of similar comments I’d heard recently coming from fellow Zen students.  The first was elicited after the person had read the teachings of Buddha in the Diamond Sutra which includes the central Buddhist notion that what we think of as “self” is not real. The verse in question has Buddha saying the following to his student Subhuti:

And why not? Subhuti, a bodhisattva who creates the perception of a being cannot be called a ‘bodhisattva’. And why not? Subhuti, no one can be called a bodhisattva who creates the perception of a self or who creates the perception of a being, a life, or a soul.””

The Zen student wrote me that the Buddha’s comments “sounds insane”.  Most of us would agree. (For more details see Discussion #3 on the FORUM page of this blog).

 The other comment was one of those commonly heard observations about the state of the world; i.e. “everyone’s crazy”. This student didn’t really say whether he considered himself in this category or not. Certainly one possible translation of the rapper’s dialogue in the video “What is it (Marcel Duchamp)? could be “IT is crazy”, where IT refers to what Jiyu Roshi often refers to as “the whole ball of wax”. EVERYTHING’S CRAZY!

Eihei Dogen, one of the most influential Zen philosophers, didn’t use the word “crazy” but did say that we all live in “delusion”.  And for those who are used to thinking that “enlightenment” is somehow an antidote for or the opposite of “delusion”, he argues that they are one and same.  Now, THAT sounds crazy, doesn’t it?  (If you haven’t already, you may want to check out an earlier post titled “SUN RA, THE ALIEN: THE THIN LINE BETWEEN GENIUS, SPIRITUALITY AND CRAZY”)

Whether something is considered to be “good” or “bad”, “crazy” or “sane” or “enlightened” or “delusional” depends on how that “thing” is defined. As Dogen and many Western philosophers’ have shown us, definitions are not fixed and do not enjoy complete consensus as to their meanings.  This seems to be the point of Duchamp’s “Fountain”.

TRANSUSBSTANTIATION

In doing research for the video, I learned that Marcel Duchamp was fascinated by the concept of “transubstantiation“.  If you watched the video closely you saw that I played with this concept in the video.  According to Wikipedia this term was first, or most famously, used at The Fourth Council of the Lateran (1215) where it was stated that Christ’s “body and blood are truly contained in the sacrament of the altar under the forms of bread and wine, the bread and wine having been transubstantiated, by God’s power, into his body and blood.” From this perspective, the bread and wine are not just symbols of Christ’s body and bread but are his body and blood, although in another form.  Later, more liberal interpretations allow that the bread and body are symbols or metaphors for Christ consciousness and that what makes this real or true is the faith of the participants in Communion.  In other words it  is as if the wine was Christ’s blood.

Here is how Duchamp used the term transubstantiation:

  • “The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place… …All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”
    • “The Writings of Marcel Duchamp (Marchand du Sel)” e.d. Michel Sanouille and Elmer Peterson,New York1973, pp. 139-140

When Duchamp entered the urinal in a art show, he was obviously raising the question “What is it?”, or more to the point, “Is it art?”  His point seems to be that it all depends on how “it” is seen by the spectators.  If it is defined and perceived as art, (as if it were art) by viewers, then  it will be perceived and responded to differently than if it is seen as  “just a urinal”.  If something is seen as “art” it brings forth a special mode of attention that is different from something seen as part of  “everyday life”.

What is the special kind of attention associated with art?  Those of you who have been reading my previous post know that is what I have been calling being “present/awake/alive”.  As I suggested in an earlier post “Performer/Audience Communication“, some works of art allow the artist and the audience to share this unusual mode of consciousness.

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"An Oak Tree" by Michael Craig-Martin

The piece pictured to the left is a continuation of Duchamp’s dialogue  by conceptual artist Michael Craig-Martin.  His work “An Oak Tree”, installed in the Tate Modern consists of a glass of water, which the artist has declared he turned into a “full-grown oak tree”, “without altering the accidents of the glass of water”   Craig-Martin is claiming that, although the form of the piece looks like a glass of water, it is in fact or in substance an oak tree, which is transubstantiation of the kind that is central to the Christian doctrine.  Of course such work is likely to provoke remarks such as “Is it really art?” or “It’s like kind of crazy”.

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Since Duchamp created “The Fountain”, artists of all stripes have been interested in exposing the tenuous nature of the distinction between art and all other aspects of life.  For instance, in “Essays on the Blurring of Art and Life”, Allan Kaprow wrote:

“Consider certain common transactions–shaking hands, eating, saying goodbye– as Readymades (a term Durchamp used for pre-existing “art objects” like the urinal).  Their only unusual feature will be the attentiveness brought to bear on them.  They aren’t someone else’s routines that are to be observed but one’s own. just as they happen”.

What Kaprow seems to be saying is that living life attentively is making one’s life an art piece, which begins to sound  pretty “Zen-like”.   He strengthens this association by writing :  “Lifelike art in which nothing is separate is a training in letting go of the separate self”.  In the next Post, I will explore how the kinds of philosophical discussions prompted by Duchamp and others have been going on for centuries among Zen and other Buddhist’s philosophers.

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The Zen-man is an artist to the extent that, as the sculptor chisels out a great figure deeply buried in the mass of inert matter, the Zen-man transforms his own life into a work of creation….” (Presumably Suzuki would agree that the same is true of a “Zen-woman”)

                                                        D.T Suzuki, Zen and the Japanese Culture

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WHAT IS IT (MARCEL DUCHAMP)?

Today’s post is just a video entitled “What is it (Marcel Duchamp)?”
After Duchamp tried to submit a urinal as a sculpture to a pretigious art show in 1917, the art world was never the same.
Several scholars have argued that Duchamp was a closet Buddhist and my video tries to make the case that his submission
of the urinal as a piece of art is a pure expression of Zen.  Please watch the video when you are not distracted by other things
and see if you agree.  The link below will take you to the video on youtube.  If an advertisement comes up, you can skip it and go straight
to the video but, oddly, the one I saw was sort of amusing and seems to fit with the video.  If possible listen through headphones
to maximize the stereo quality of the music.
Regards,
Steve
Click below to go to Youtube to see the video.