Free Write and Poem

 

Appearance of Being No.2

 

Free write for this quiet, rainy, serene Thursday morning in Guildford, Surrey, BC, Canada, North America, America, "West" (sarcasm), Earth, Systema Solaris, Milky Way (named from its appearance from the earth's point of view).

Our own planet continues to mystify.

How much more the galaxy!

Yet a partial name from an internal perspective (as we are part of the milky way) it is. A simple and poetic description of such a majestically moving body which we can never Know—not through observable data (or even hyperlogical induction) that is. Heresay has me believe there have been and maybe are some who can access direct Knowledge of "heavenly" ("archaic" use) bodies. Is it true or a myth?, yet how much Truth do "myths" (ancient) carry? I say "boundless" amounts packed into symbols. This is why archetypal symbols found in various cultures are so "delectable".

Now, what is behind this curtain of "life". I use "life" in a presumptive way to refer to a "common" way of perceiving. I am inclined to accept the outlook from the centre, the me, to be like naming the milky way based on its appearance from a specific interior view point. This is clearly limited, fragmented and partial at best, totally false at worst.

Behind the curtain,

The metaphorical curtain,

Woven with fibres of fear—

Flashing in and out of existence

The curtain, not real

But a mode,

A description of a mode,

A mode so deceptive,

So stimulating to the core—

This spherical curtain

Within which I abide,

Nature's virtual reality,

The Cosmic Joke.

MS21

The poem is structured as if getting glimpses (like a shutter opening and closing) of a pulsating and continuous thematic object (the curtain) beyond. This enables brevity if not abrupt omission, and multidirectional approach (cubist, if you will). Did you notice the last line of the poem reflects the last line of the preceeding text?

An anecdote and a poem

 

Parallel Forces No.6

An anecdote and a poem:

For some reason, all the people I interacted with in my community today seemed to be shining internally. Can you believe it? I didn't get a "nasty attitude" from anyone! I will mention one of them: the place I ordered curry for lunch. The rice was truly beautiful. There was an essence to it—the artful way it was made echoed centuries of cultural evolution. I know I cannot make rice like that at home, I just don't have that kind of cultural knowledge and memory in me. It's like the cook was not playing the role of the cook but had the beauty of the craft flowing through his being. After eating the palak paneer, I was invigorated. The freshness and quality of the ingredients are not the only factors at work here. Anyway, the vitality which I came in contact with today oxygenated my internal flame and inspired the following poem.

Anything and everything—

The pristine clarity of Love—

Moments are moving,

Time factors not—

The crystalline World

Asks not for a thing—

The silence prevails

Underneath the act.

MS21

A Short Dialectic on Art

 

A Short Dialectic on Art

 

In order to improve something, something has to change; like when humanity learned that the earth is not flat. At that time, our understanding of the solar system improved. So improving our understanding of nature must involve a change—either new knowledge or remembering forgotten knowledge. What I'd like to share here is something that I think fits into the second category.

The question is: What is art?

 

A: Art is action done properly. This includes riding a bike.

 

Q: No, I won't accept this. Painting an artful picture requires something extra.

 

A: False. That which you think is extra is actually ordinary. When someone does anything with a sense of beauty and order, they are using the same faculty as a painter. The difference is a superficial one. The painter has knowledge and skill with colour, form, composition, etc. and the biker has riding skills. If one has skills in playing baseball, they can play it beautifully. Every action has the potential to be artful.

 

Q: So, why is this important?

 

A: Because we have been taught to believe that art is something different from everyday activities and therefore fail to understand the beauty of just being alive. The greed of modern society has blinded us from this ancient understanding of art. In order to become richer, we have crossed the moral line and sacrificed the beauty (art) in products, work, business, services, etc.

The Absurdity of War and The Human Problem

 

The Absurdity of War and The Human Problem:

Any rational pair of human beings will not resort to physical violence when finding themselves in a conflict. They will find a resolution even if it is parting of ways—agreeing to disagree so to speak. There is respect and love behind the disagreement. Why should international relations be any different? Why is killing other human beings acceptable? It is not. If we are going to be a coherent species and to also respect mother earth, we will have to start seeing each other as family—every single person whether they are mad or sane. The sane ones must treat the mad ones like lost children (through respectful guidance).

I have recognized my egoism (thought-based reality commonly thought to be sane but actually insane) which has the lower self, the "me" or "ego" as a center around which this false reality is formed. This is the common way of existence for the vast majority of people. My objective then is to be liberated from this psychological structure which is the cause of mistaken activity in this world. We cannot change others by trying to force our ideas upon them, but by changing ourselves fundamentally (structurally, not content-wise) we have already changed the world as a whole (since we are part of the world and our effect on others is seen to take immediate effect). This is the only way humanity will realize a new way of living never before known on a global scale. We are all basically mistaken until we are free from egoism.

The work of J. Krishnamurti clearly explains my point. Most people will find excuses not to listen to it though. This is the egoic structure at work. I guess when Plato and others stated that only the initiated could begin study, they were referring to this problem of "resistance".

 

Where am I speaking from? Am I just repeating words I've heard or speaking theoretically? No. I have, through many, many hours, days and years finally started to dismantle the structure (this is just the beginning). In so-doing, there is direct and immediate validation which does not change back. This permanent eradication is the sign that it is the actual structure of the psyche that has been targeted and not just a concept (which would be superficial). The validation consists of great mental clarity which effects the ability to breath fully and consequently effects the health of the entire body. My explanation for these workings is that our egoic structure is a giant obstruction, comparable to a body frozen by fear, which prevents the free flowing of energy. The more energy flows, the more liberated we are. Yoga stretching works based on the same premise but begins with targeting muscle tension and density. The egoic mind may respond to this type of activity with a surge of force but once that is also recognized and disarmed, the positive progress (which is a negative process or negation when spoken of in a physical sense) becomes once again apparent and on we go deconstructing the system further. Oh, it's beautiful. Love with capital L.

Questioning the Ground from Which We Move

 

Questioning the Ground from Which We Move 

There is so much junk information reaching our senses.

Without first clearing most of it away (at least the big pieces, like pizza boxes, dumped furniture, rotting pineaple chunks, etc — to continue the analogy) it is impossible, yes impossible to begin questioning clearly. (FYI principles of physics apply here!)

Once there is some clean, quiet, space one can begin.

Now, sensitivity is required.

When the "miserable ground" which normally goes unnoticed is recognized, the activity of negation which will ultimately lead to vast psychological freedom, has already begun. Congratulations. It's not "far out".

 

MS21

Three Pieces, Three Poems (new poems)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Form and Formless No.8 - W 7" - Yellow Cedar:

 

With fire

And breath

Traversing mountains

Without motion

MS21

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Inseparability of Action No.5 - W 7.25" - Port Orford Cedar, Wax:

 

Immanent excursion,

Pulsing sea waters,

Lost nowhere

MS21

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Intent to Act No.1 - W 5" - Yellow Cedar:

 

That constant presence

So polite and servile

Self-compassion must reign

MS21

First Untitled Form and Why?

WF156

This is another form which came rather spontaneously onto paper. Without an intentional direction the idea appeared vaguely in my mind and the hand (with pencil) completed the design (gave it coherence). It resonated yet I couldn't formulate a title. Normally the title dawns on me soon after selecting a sketch for production. Sometimes even a poem may emerge to supplement the essence of the idea/form. I'm not sure what it is that makes this piece so vague with regards to an associated idea. Perhaps it really is a synthesis of multiple ideas (I had written "synthesis...artist as synthesizer" at the top of the sketch page (most likely before the sketch was outputted) but did not accept it as a title). So this is the first form which assumes the sculpture (or wood form) number (WF156). Other titles I considered were "Sleep", "Dreaming" and Symbiosis No.3 but none of them felt right.

WF156 is made of air-dried yellow cedar, with a subtle grain pattern. It is light in colour and the form may even suggest bone.

Movement captured by mind,
The search for limits
And finality—

Yet on life goes,
The sweet energy prevails
In timeless motion
And shining Love.

MS21