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Mark, I think that's pretty much right. I once watched John Neptune =
play Tsuru no Sugomori in a concert and explode into a lengthy =
improvisation on the koro koro theme of the piece creating what could =
only be described as a manic din of random notes achieved through =
punctuations and circular breathing. It was definitely entertaining and =
something tells me that was his intention.
Jonas, My way of appreaciating the life experience is that we are all in =
a meta process of escalation in terms of consciousness. Of course there =
are times of slippage, but inevitably there is one end. To your ponder: =
but I also wonder if some of the Fuku and lay shakuhachi players =
experienced their moments of ecstasy and their consciousness shifts =
within the greater context of both their Japanese culture and their =
Buddhist practice.=20
I would have to answer: the practice as we know it was designed here =
and is definitely an aspect of this culture. Therefore, I think that =
there is an absolute relationship between any possible shifts of =
consciousness that may have been experienced by practitioners and their =
cultural setting and conditioning. But, I don't think that what was or =
is achieved in terms of any escalation of consciousness is endemic to =
Japan and therefore different from what might be achieved by another =
person at another time in another place and possibly through another =
practice. The shakuhachi is a vessel.
To:=20
Perhaps a cultural historian in the crowd could suggest ways that a =
consciousness=20
shift in a Japanese person might be experienced and interpreted =
differently=20
by, say, an American who undergoes a "similar" shift.=20
I would like to suggest that if two people, regardless of culture, =
creed, race or sex experience a 'similar' shift in conscioucness, that =
is, shifting from the same level of consciousness or meme, then there =
will be distinct similarities as observed in the presentation of =
themselves that are dictated by the particular seat of consciousness =
that they are at. There is nothing flat about consciousness.
Isaac, watch out for those eyes in your potatoes. They're nasty.
Herb, I hope you get back to the office real soon.
jeff=20
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<DIV><FONT face=3DArial size=3D2>Mark, I think that's pretty much =
right. I=20
once watched John Neptune play Tsuru no Sugomori in a concert and =
explode into a=20
lengthy improvisation on the koro koro theme of the piece creating what =
could=20
only be described as a manic din of random notes achieved through =
punctuations=20
and circular breathing. It was definitely entertaining and =
something tells=20
me that was his intention.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Jonas, My way of appreaciating the life =
experience=20
is that we are all in a meta process of escalation in terms of=20
consciousness. Of course there are times of slippage, =
but=20
inevitably there is one end. To your ponder: </FONT></DIV>
<DIV><FONT face=3DArial size=3D2><FONT face=3D"Times New Roman" =
size=3D3>but I also=20
wonder if some of the Fuku and lay shakuhachi players experienced =
their=20
moments of ecstasy and their consciousness shifts within =
</FONT></FONT><FONT=20
face=3DArial size=3D2><FONT face=3D"Times New Roman" size=3D3>the =
greater context of=20
both their Japanese culture and their Buddhist=20
practice. </FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2><FONT face=3D"Times New Roman"=20
size=3D3></FONT></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2><FONT face=3D"Times New Roman" =
size=3D3><FONT=20
face=3DArial size=3D2>I would have to answer: the practice as we =
know it was=20
designed here and is definitely an aspect of this culture. =
Therefore, I=20
think that there is an absolute relationship between any possible shifts =
of=20
consciousness that may have been experienced by practitioners and their =
cultural=20
setting and conditioning. But, I don't think that what was or is =
achieved=20
in terms of any escalation of consciousness is endemic to Japan and =
therefore=20
different from what might be achieved by another person at another time =
in=20
another place and possibly through another practice. The =
shakuhachi is a=20
vessel.</FONT></DIV>
<DIV><BR> <FONT face=3DArial size=3D2>To:</FONT> <BR>Perhaps a =
cultural=20
historian in the crowd could suggest ways that a consciousness <BR>shift =
in a=20
Japanese person might be experienced and interpreted differently <BR>by, =
say, an=20
American who undergoes a "similar" shift. </DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>I would like to suggest that if two =
people,=20
regardless of culture, creed, race or sex experience a 'similar' shift =
in=20
conscioucness, that is, shifting from the same level of =
consciousness or=20
meme, then there will be distinct similarities as observed in the=20
presentation of themselves that are dictated by the =
particular seat of=20
consciousness that they are at. There is nothing flat about=20
consciousness.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Isaac, watch out for those eyes in your =
potatoes. They're nasty.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Herb, I hope you get back to the office =
real=20
soon.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial=20
size=3D2>jeff</FONT> </FONT><BR></DIV></FONT></BODY></HTML>
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