Comments:


Morningstar     Fri, Jan 30, 2009  Permanent link
Shuddering the prison of familiarity, bringing into presence the non-existing moment of the now, to be an active conscious junction, a pulsating bifurcating aware space”.

I find this so condensed and beautiful that each time I read it, it reveals a different perspective. In my mind it is intimately connected to an endeavour, of being in a constant flow, where one is continually challenged to capture and to forge each moment as a unique, singular moment of beauty, where one sheds the garments of known matrixes, allowing nakedness to penetrate the most hidden recesses, in an on going flow of emergence of ripples upon ripples...
Fast T     Sun, Feb 1, 2009  Permanent link
As noted in previous comments on this Montevideo string, the beauty of the text is overwhelming. I had experienced great pleasure reading it.

It is also quite challenging. Mainly as to me the reading requires a certain navigational feat between modes of minding; between the poetic and the poietic, between yielding to the wave to trying to ride its crest... I thus took to several readings.

On second and third reading there are passages of certain aesthetic appeal, that while engulfing my comprehension with beauty nevertheless leave me to find myself in need of a different order of description.

One such example is in relation to the following:

Aesthetics I see as an outpost of being, that brings forth the notion of beauty, as an active restless substance, in the poietic meticulous work of being alive.

When unleashed our Aesthetic sense is an experimental station, free from the useful and the necessary, established at a distance from the main stream and body of perception.

A fragile and non-evident instance of knowing, a volatile raft into the yet unknown, steering the “undisclosed content” of the moment with a double-edged activity, that of folding-out our selves, and that of folding-in, among the odds of time, a shape of infinity; which in rare times of grace merge as a singular sense.

When the moment is yielding, a singular sense crowns - a singular (as distinct from common) sense is realized - then, a pole of attraction has been created, serving the mindset with a key for reshaping itself in-tune.

And if so, aesthetics, emerging in us as a daring subjective process, crosses over from the discreet and the randomly experimental into the continuous, wide and constructive.


I would like to get your meaning on the crossing over. e.g: how is aesthetics crossing over from the discrete etc. to the wide and constructive?

for if we are at Revolution, isn't it the case that we need recognize the shared outposts of being, if such a thing is at all possible?
kneaded     Sat, Feb 28, 2009  Permanent link
This whole piece is so overwhelmingly beautiful that I hesitate to write. Nonetheless, there are images that cut me to the quick (not in the sense of injury, but rather in the sense of slicing to the bone) which in turn open, free, me for release.

Existing, as we are, in between a sand clock that is running out and the early bursting of wings readying us to mind our own evolution

A sand clock running out is such a potent image for me, evocative of the dread of not becoming before I cease to exist. It is a reminder that “someday” might not arrive. And yet, there is a call to arms – bursting of wings - revolutionary indeed. Shall we stay suspended, embedded, in this in between state or choose life and leave the ticking of the clock to mind itself?

A fragile and non-evident instance of knowing, a volatile raft into the yet unknown, steering the “undisclosed content” of the moment with a double-edged activity, that of folding-out our selves, and that of folding-in, among the odds of time, a shape of infinity; which in rare times of grace merge as a singular sense.

We are, we become, in moments, not in time. The more we fold out, or open, ourselves perhaps the more space we create for infinity to take its place.

When the moment is yielding, a singular sense crowns - a singular (as distinct from common) sense is realized - then, a pole of attraction has been created, serving the mindset with a key for reshaping itself in-tune.

Those rare times of grace, of merging, create in us a yearning – a pole of attraction – and for a self-reflective individual poses the question: “How does one maintain this sense of grace, this moment?” Yet, it is not a matter of holding on to that moment (which ultimately can be but a fond and fine memory), but the realization that this is the type of moment one wants to experience, even create. New eyes are needed.

Encountering the singular provokes a metamorphosis in our understanding, disrupting the sense of constancy; the entropic rhyme participating with the open-ended beings we are.
Placing Art not fully in the object, nor fully realized through an object, but rather, placing Art as ground of Being.


This begs the question, “Are we open-ended beings?” And even if so, are we conscious of it? I interpret this passage as unfettering oneself from the constancy of the sense of who I am to pursue the question of how will I be? How will I create grace and beauty?

Once we had the notions that separate the doer from the thinker, the individual from a collective. Those notions of separation are some of the building blocks of the way our conscious activity has been framed.

How sound are the paths to our future, and with which sanity shall we walk side by side? Separateness, like dissection, is a tool of post mortems, to explain what happened, how we are different. We can sort and distinguish toward the end of finding components, perhaps even attributing variations of value to each, thereby creating a tension between the value of thinking and doing, the value of the individual and a collective. Or we can incorporate and create a cohesive whole, a new vision, a more panoramic existence.

It is in the aesthetic mélange of the thinker and the doer, thinking and doing, individual and collective, that new notions emerge and become cues for a new architecture of conscious activity.

Ingathering as a foundation – that is a radical idea at a point in time when specialization is the hallmark of day-to-day existence, even as we become globally attuned. People decry the futility of being a “renaissance man” in this day and age. Yet, perhaps this is merely an excuse to narrow one’s vision, rather than choosing to open oneself to interconnectivity.

This brings to mind an artist I once knew who, over the course of several years, hand-painted and signed 2,000 paint stirrers. Each was given to an artist, a friend, a member of his various communities. The idea behind the project was to bring together different members of the communities into an art event of shared difference, as each stirrer was unique, but was numbered and part of a whole collection. The artist’s comment on the stirrers, “Although I think they’re nice, they don’t, from my point of view, become art until I pass them on.”