Education is a mess – is there an integrative way to teach?

I have updated an introduction to the SunWALK model of human-centred studies;Ā 

SunWALK: Summary of the main meanings of the components represented inĀ 
the model and its ā€˜logo-diagram-mandalaā€™ ā€“ providing a teacherā€™s process modelĀ 

Ā 

sunwalk-logo

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SunWALK: Summary of the main meanings of the components represented inĀ 

the model and its ā€˜logo-diagram-mandalaā€™ ā€“ providing a teacherā€™s process model

Give me a brief introduction:

SunWALK grew out of reflection on many years of teaching children and adults and particularly a period of five years teaching in a RC middle school ā€“ theorizing my practice via a PhD and practising my theory day-to-day.

SunWALK simply says that the quality of all of our lives will be higher if we undertake all education within the framework of deepening our humanity. Ā 

Deepening our humanity is a matter of developing technical competencies within the chief dimensions of the human spirit;Ā Caring (the Humanities), CreativityĀ (the Arts) andĀ CriticalityĀ (the Sciences & Philosophy) ā€“ all in local, national and world Communities. Ā These are the ā€˜4Csā€™ of the model ā€“ 3 intra-personal, 1 inter-personal.

We and our one planet will be better of if all of the technical stuff, from learning to read to Masters degrees in engineering, take place in the context of humanization/the 4Cs. Ā This requires international, national, school & classroom commitment to deepening the best of being human as the context for learning the technical.

We canā€™t afford to have character and morality and compassion asĀ hoped-forĀ accidentalĀ outcomes. Ā Moral Education, PSME, RE etc. donā€™t work as bolt-on extras. Ā They need to be the general context in which competencies are developed.

It is a model based on theĀ energy flowĀ of the human spirit ā€“ that is the given. That is physical, mental and spiritual energy that flows through all living human beings. Ā 

That energy, the human spirit, is the true ā€™stuff of educationā€™. Ā With the best of the past teachers need to equip children to face tomorrowā€™s challenges which will always be a mixture of new problems combined with eternally recurrent problems. Ā Building all education with will be the medium with which the teacher works to nurture and challenge balanced development.

Today we have lost the balance between specialization, and whole-systems thinking and acting ā€“ SunWALK model brings into harmony the best of ā€˜Westernā€™ & ā€˜Easternā€™ world-views.Ā 

OK ā€“ so whatā€™s the ā€˜Sunā€™ and the ā€˜WALK in the modelā€™?

The ā€˜Sunā€™ = the individualā€™s spiritual inspiration & values sources ā€“ accumulated and ongoing, as operating internally and as expressed in speech and behaviour.Ā 

WALK = Willing & Wise Action through Loving & Knowing ā€“ here seen as the general goal for education, and as the interiority, character and behaviour of the student.Ā 

The model/logo combines a range of sub-models including the following:

a) An ā€˜interiorā€™ model of the human spirit ā€“ in relation to ā€˜the worldā€™.

b) A model for re-positioning education within being & becoming human ā€“ in the world with others.

c) A general model of the curriculum ā€“ for primary, secondary and higher education.

d) A framework for the analysis and evaluation of teaching episodes or projects.

e) A model of education that makes non-faith-specific spiritual and moral education intrinsic to all learning.

Ā 

THE MODEL AND THE PROCESSĀ IN ONE (long) SENTENCE: –Ā 

The SunWALK model of spiritualizing pedagogy sees human education as theĀ 

storied

developmentĀ ofĀ 

meaning, which isĀ 

constructed, andĀ de-constructed,Ā 

physically,Ā mentallyĀ andĀ spiritually, throughĀ 

WiseĀ &Ā Willing

Action, viaĀ 

LovingĀ andĀ KnowingĀ ā€“ developed inĀ 

Community, through the

ā€˜Dialectical SpiritualizationĀ [1]ā€™ofĀ 

Caring,Ā CreativityĀ &Ā CriticalityĀ processes, all undertaken in the light of theĀ 

ā€˜Sunā€™ of chosen higher-order

valuesĀ andĀ beliefs, using best available,appropriateĀ 

content.

These underlined concerns are central components and focuses of the practice and theory in the model.Ā 

This is an intense combination of theory and practice. Ā It automatically requires the teacher to practice their theory and theorise their practice ā€“ dynamically as practice-based research. Ā It automatically enables the classroom to be connected to the school & community as a whole and to e.g. a relevant department in a university.

It attempts to suffuse all teaching with the demands, challenges and joy of being human in the world with others. Ā But it seeks to bring together the Whole and the parts, the ineffable and the concepts ā€“ not just concepts because as Heschel (1971:7) says, ā€œConcepts are delicious snacks with which we try to alleviate our amazement.ā€

The diagram/logo/

The outer ring of the SunWALK logo combines two dimensions:

1 ā€˜Community i.e. the social,interpersonal dimension of interaction with other individuals or groups.

2Ā  ā€˜Cultural sourcesā€™ including such dimensions as the traditions, the political & the legal. Ā 

The three major divisions of the arts,sciences and humanities are here thought of as the stored, yet potentially dynamic, accumulation of knowledge and beliefs and procedures ā€“ everything from galleries to written laws of physics that the individual can draw upon or be influenced by. This is the ā€˜stuff out thereā€™ rather than the interiority of consciousness in which there is the perpetual flow and re-shaping, focusing de-focusing etc. of heart-mind.

In SunWALK everything within the inner circle = a representation of ā€˜interiorityā€™, i.e. human consciousness ā€“ the human spirit.Ā 

The human spirit is presented intra-personally as 3 ā€˜voicesā€™ ā€“ 3 modes of being & of engaging with reality & of knowing.

The three emanate from the singleness of ā€˜heart-mindā€™, consciousness. Ā 

They are presented (metaphorically) as the ā€˜primary coloursā€™ ofĀ CreativityĀ (the yellow of inspiration),Ā CriticalityĀ (the blue of reason) &Ā CaringĀ (the red warmth of love).Ā 

Creativity is the ā€˜Iā€™ voice of subjective engagement via an artistic medium ā€“ it is concerned with subjective knowing and is particularly related to the core virtue ā€˜beautyā€™ and its products are of course ā€˜the Artsā€™.Ā 

Criticality is the ā€˜ITā€™ voice of objective engagement which enables progress in the Sciences ( & Maths., Philosophy and ā€˜criticalā€™ studies). It is concerned with objective knowing ā€“ and it is related particularly to the core virtue ā€˜truthā€™. Ā The products of course are the sciences and technology Ā – but also philosophy and critical studies.

Caring is the ā€˜WEā€™ voice which enables moral engagement ā€“ for progress in the moral domain and in service of others. It is concerned with social knowing ā€“ related particularly to the core virtue ā€˜goodnessā€™ and to ā€˜the Humanitiesā€™.Ā 

All three of course need to be conditioned by the pre-eminent virtue of justice. Ā All students need to have these ways of engaging with reality developed in a balanced way. Ā High technical competence combined with moral dwarfism leads to ā€¦ā€¦

The physical dimension is seen as the instrument for the flow of spirit in all of its forms ā€“ e.g. via dance, drama & PE and sports.

Each individual develops her/his I, WE and IT voices, the 3Cs, via socialization, starting in the family, the local community and then later in formal education. A sense of justice is seen as paramount intrapersonally as well as inter-personally i.e. it enables us to engage with that which is beautiful, good or true with balance, clarity & due weight.

The essential process in all 4Cs is multi-level dialogue. In the case of the individual dialogue is seen as meditation, reflection and inner-talk. In the case of groups it is dialectical process via consultation.

The ā€˜Celticā€™ knot that surrounds the central shield indicates that the 3Cs are simply aspects of the one human spiritā€“ the flow of ā€˜heart-mindā€™.

The white shield at the centre represents the meditative state in which there is no ā€˜focusedā€™ engagement via one of the 3Cs ā€“ and in which there is relatively little of the interference or chatter that we experience in the unquiet mind.Ā 

This can enable us to ā€˜go beyond ourselvesā€™, i.e. transcend our normal knowing ā€“ any of the 3Cs (I, WE or IT modes), as gateways, can be a pathway to the transcendent and to subsequent improved insight into reality.

The black dot at the centre is the ā€˜well-springā€™ of consciousness. For artists (and great scientists) it is the Muse. For religionists it is the voice of God within (albeit distorted by the dust of self). For non-religionists it is the inner source of spirit as energy & inspiration ā€“ the bits of realization and insight that come to us for which we donā€™t make an effort.

Educating the human spirit is seen as nurturing, and cultivating, the life-force which culminates in the developed human who, through higher-order consciousness, realizes abilities from within Caring, Creative or Critical engagements.Ā 

Teaching is seen as nurturing and cultivating what is normally present, almost from birth, & certainly by the time we go to school ā€“ namely the flow of spirit expressed in nascent forms of Caring, Creativity, and Criticality ā€“ in Community with others. Holistic Learning takes place when the learner uses Creativity, Criticality and Caring ā€“ in Community ā€“ inspired by higher-order values ā€“ in dynamic combinations such as Creativity providing texts for criticality ā€“ which then, via dialogue, produce/attract the spirit for more creativity.

In SunWALK spirituality is not a dimension; it is the model as a whole. In SunWALK moral education is not a dimension ā€“ it is intrinsic to all of its praxis.Ā 

The SunWALK logo can also be seen as a mandala, or even as a plan drawing for a fountain or an ā€˜arts centre of lightā€™! Ā 

SunWALK is a major shift to a process view of the world, of being human and of educating our young people. It rejects a worldview that is limited to the mechanistic, the ā€˜human-as-computer, the fragmentary and the materialistic; seeking instead modelling that is based on flow/process, holism and the spiritual. Ā Ā 

SunWALK is designed to enable teachers and students to become agents of change to transform a world that is still operated as atomistic, mechanistic and materialistic into one that is holistic, dialogic, and derived from the best processes and products of the human spirit.

The SunWALK logo and model of education Copyright Roger Prentice 1995 & 2009

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SEE ALSO these allied blogs –

Ā Human-centred coursesĀ ā€“

Ā Dictionary of Concepts

Home is HERE i.e. my ‘meta-blog’Ā -The Ā“1000 ways ā€¦of Celebrating the human spirit

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Meaning, purpose and separation

Many articles on this site argue that the making of meaning is central to being human, and therefore nurturing meaning-making, and positive meaning-full action, should be central to education and parenting. Ā But what of the broader picture? Ā  W. T. Stace said;

The problem of evil assumes the existence of a world-purpose. What, we are really asking, is the purpose of suffering? It seems purposeless. Our question of the why of evil assumes the view that the world has a purpose, and what we want to know is how suffering fits into and advances this purpose. The modern view is that suffering has no purpose because nothing that happens has any purpose: the world is run by causes, not by purposes.Ā Ā Ā  Ā  Ā  Ā Ā Ā W. T. Stace – Religion and the Modern Mind

Suffering has purpose because through it we gain insight and come to realization. Ā Its just that meaninglessness is the meaning that is more popular. Ā The answer to that is to construct greater meaning, meaning Ā based on eternal verities rathern than fleeting fashions and false realities.

Not for the first time Ā I stumbled across an example of the phenomenon about which the great John Hull has railed. Ā Hull’s theme is disgust at how ‘mammon’ has stolen the language and concepts of the spiritual life. Ā Consider this;

A World of Meaningful Experiences

To read the article go HERE


Humans have evolved to value increasingly complex meaning in their lives, an evolution that is partly reflected in our consumption of goods and services. This evolution has proceeded from a primary focus on function and economic value to the addition of progressively more intricate offerings like status and emotional value, and now meaning. Worldwide, consumers are increasingly seeking products and services that connect with them through meaning, that jive with their sense of how the world is, or should be. Although this trend is prevalent in the West, we see increasing evidence of it globally. Just as tribes, traditions, and objects brought order and “rightness” to people in previous centuries, a company and its offerings may now play that role as well by solidifying a relationship at the deepest possible point in the human psyche and personality. It’s a potent place for a company to be.

Companies have been both lauded and derided in the past for creating lifestyles, particularly consumer lifestyles. We’re not convinced they’ve actually done so. Instead, we think companies have become adept at making a connection from products and services to emerging lifestyles and trends. They may have embraced these new directions, and perhaps amplified them, but not actually created them. Similarly, we’re not arguing that companies are in a position to create meaning in people’s lives, rather that they are in a position to connect to meanings people already recognize and want.

Companies can address people’s growing desire for meaning by intentionally designing cohesive experiences based on a specific meaning and expressed cohesively through products, services, and other consumer touch points.

Experiences with Global Appeal

What types of meaningful experiences do people value? In the course of helping companies develop products and services that suit their markets, every year we interview over 100,000 individuals from countries and cultures around the world. In these interviews, we’ve found commonalities among the meanings people feel strongly about, whether we’re studying the adoption of new software in Poland or the purchase of toothbrushes in Florida.

We’ve compiled a list of these meanings, but it is far from exhaustive. We’ve found potentially dozens of types of meaningful experiences and at least as many possible ways to characterize them. What we concentrate on here are 15 of the meanings that emerge most frequently in these interviews and appear to be universal among people’s values. While the relative importance of these meaningful experiences might vary and their interpretation could differ slightly, all cultures seem to recognize their significance. This is good news for businesses, because it means that there is a certain constancy among human needs that transcends the distinctions of culture and language.

(Since none of these meaningful experiences is more or less important than any other, we’ve presented them in alphabetical order.)

1. Accomplishmentā€”Ā Achieving goals and making something of oneself; a sense of satisfaction that can result from productivity, focus, talent, or status. American Express has long benefited from transmitting a hint of this meaning to its card holders by establishing itself as a credit card intended for those who are successful. Nike relies on the essence of this meaning for many in its “Just Do It” campaign.

2. Beautyā€”Ā The appreciation of qualities that give pleasure to the senses or spirit. Of course beauty is in the eye of the beholder and thus highly subjective, but our desire for it is ubiquitous. We aspire to beauty in all that surrounds us, from architecture and fine furnishing to clothing and cars. Enormous industries thrive on the promise of beauty stemming from shinier hair, whiter teeth, and clearer skin. Beauty can also be more than mere appearance. For some, it is a sense that something is created “correctly” or efficiently with an elegance of purpose and use. Companies such as Bang & Olufsen audio equipment and Jaguar automobiles distinguish themselves through the beauty of their design.

3. Creationā€”Ā The sense of having produced something new and original, and in so doing, to have made a lasting contribution. Besides driving our species to propagate, we enjoy this experience through our hobbies, the way we decorate our home, in telling our stories, and in anything else that reflects our personal choices. Creation is what makes “customizable” seem like a desirable attribute, rather than more work for the buyer, for example, making the salad bar a pleasure rather than a chore.

4. Communityā€”Ā A sense of unity with others around us and a general connection with other human beings. Religious communities, unions, fraternities, clubs, and sewing circles are all expressions of a desire for belonging. The promise and delivery of community underlies the offerings of several successful organizations including NASCAR with its centralizing focus on car racing and leagues of loyal fans that follow the race circuit, Harley-Davidson motorcycles and their Harley Owners Group (HOG), and Jimmy Buffet with his dedicated Parrotheads. These businesses attract and support user communities who embody specific values tied to their products and services.

5. Dutyā€”Ā The willing application of oneself to a responsibility. The military in any country counts on the power of this meaning, as do most employers. Duty can also relate to responsibilities to oneself or family, such as reading the daily paper to stay abreast of the news. Commercially, anything regarded as “good for you,” including vitamins, medications, Cross-Your-Heart bras, and cushioned insoles relays some sense of duty and the satisfaction it brings.

6. Enlightenmentā€”Ā Clear understanding through logic or inspiration. This experience is not limited to those who meditate and fast, it is a core expectation of offerings from Fox News, which promises “fair and balanced” reporting, theĀ Wall Street Journal, which many consider the ultimate authority for business news, and the Sierra Club, which provides perspective on environmental threats and conservation.

7. Freedomā€”Ā The sense of living without unwanted constraints. This experience often plays tug-of-war with the desire for security; more of one tends to decrease the other. Nevertheless, freedom is enticing, whether it’s freedom from dictators, or in the case of Google, the freedom to quickly search the Web learning and interacting with millions of people and resources.

8. Harmonyā€”Ā The balanced and pleasing relationship of parts to a whole, whether in nature, society, or an individual. When we seek a work/life balance, we are in pursuit of harmony. Likewise, when we shop at Target for a toaster that matches our mixer, we are in pursuit of harmony. Much of the aesthetic appeal of design depends on our personal desire for the visual experience of harmony.

9. Justiceā€”Ā The assurance of equitable and unbiased treatment. This is the sense of fairness and equality that underlies our concept of “everyman” or Average Joe. It helps explain the immense popularity of the Taurus and the Camry, the ranch house, Levi’s jeans, and white cotton T-shirtsā€”all products with a simple, impartial appeal to a very broad audience.

10. Onenessā€”Ā A sense of unity with everything around us. It is what some seek from the practice of spirituality and what others expect from a good tequila. Although we don’t normally think of them as a company, the Grateful Dead sustained its revenues for decades building an experience that connected with its fans’ desire for oneness. Similarly, organizations that connects their members into nature or a broader sense of the world, like the Monterey Bay Aquarium or the United Nations, are capable of evoking a meaning of oneness.

11. Redemptionā€”Ā Atonement or deliverance from past failure or decline. Though this might seem to stem from negative experiences, the impact of the redemptive experience is highly positive. Like community and enlightenment, redemption has a basis in religion, but it also attracts customers to Weight Watchers, Bliss spas, and the grocery store candy aisle. Any sensation that delivers us from a less desirable condition to a more pleasing another one can be redemptive.

12. Securityā€”Ā The freedom from worry about loss. This experience has been a cornerstone of civilization but in the U.S. in particular, acquired increased meaning and relevance after 9/11. On the commercial side, the desire for this experience created the insurance business, and it continues to sell a wide range of products from automatic rifles to Depends undergarments to credit cards that offer protection from identity theft.

13. Truthā€”Ā A commitment to honesty and integrity. This experience plays an important role in most personal relationships, but it also is a key component of companies like Whole Foods, Volkswagen, and Newman’s Own, all of which portray themselves as simple, upright, and candid.

14. Validationā€”Ā The recognition of oneself as a valued individual worthy of respect. Every externally branded piece of clothing counts on the attraction of this meaningful experience whether it’s Ralph Lauren Polo or Old Navy, as does Mercedes-Benz, the Four Seasons hotel chain, and any other brand with status identification as a core value.

15. Wonderā€”Ā Awe in the presence of a creation beyond one’s understanding. While this might sound mystical and unattainable, consider the wonder that Las Vegas hotels create simply through plaster and lights. Disney has been a master of this experience for decades, and technology companies routinely evoke awe as they enable their users to do what seemed impossible the year before.

Ā This brilliant list is written to enable designers and manufacturers to make things more satisfying and eventually get a better ROI (return on investment). Ā Is this a disaster for all that is good, true and beautiful – or is it a Ā great step forward?Ā 

Ultimately making meaning is always a journey toward the realization of oneness. Ā When we arrive there is only now but maybe have goods that are imbued with the qualities of the spirit is no bad thing?

Time and Timelessness in the spirit of photography

What is life?Ā  What is photography?Ā  How far is photography an extended metaphor for the mystical?

Lo, the Nightingale of Paradise singeth upon the twigs of the Tree of Eternity, with holy and sweet melodies…… Baha’u’llah (Baha’i Faith)

…….there’s no getting away from the fact that photography is a chaotic art, that its subject is chaos. Time can’t be posed. One click of the shutter and it’s a bird on a branch; another, and the bird has flown.

Charles Darwent in the Independent

Life is a set of opportunitiesĀ  to realize, or fail to realize, our true Self.Ā  We do this via encounters against the reality of that which is eternally good, true and beautiful.

Heschel tell us that to be human is to be conscious of the difference between what we are and what we are called to be.Ā  That’s the reality of human beings being human – that gap between what is and what ought be.Ā  But like so many great souls I suspect he had, for minor erring a sense of compassion, empathy and humour.

Heschel also said;

ā€œAwe is an intuition for the dignity of all things, a realization that things not only are what they are but also stand, however remotely, for something supreme. Awe is a sense for transcendence, for the reference everywhere to mystery beyond all things. It enables us to perceive in the world intimations of the divine. ā€¦ to sense the ultimate in the common and the simple: to feel in the rush of the passing the stillness of the eternal. What we cannot comprehend by analysis, we become aware of in awe.ā€

What has photography to do with this?

1 Photographs potentially bridge time and timelessness.Ā  Photographs are very pro-vocative as well as e-vocative.

2 Photographs seem to counter Heraclitus, “You cannot step twice into the same stream. For as you are stepping in, other waters are ever flowing on to you.”Ā  They are about delusions as well as illusions.

3 They are opportunities to shift our consciousness between time and timelessness – to the reality of that which is eternally good, true and beautiful. Sometimes we do.

4 They are opportunities to self-learn, to shift from data, information and ‘knowledge’ to wisdom.Ā  Sometimes we do. Mostly we stay with regret, nostalgia ……

5 Photographs kid us that when we view one we can see what was – when in truth we can see only what is.

6 They act like embodiments of our desire that cannot – ever – be satisfired.Ā  (satisfired – an interesting typo in this context!)Ā  Every photograph offers the opportunity t shift from ‘not-having’ to beingness.

7 Life and photographs are a set of opportunities to realize the timeless from within the womb of time.Ā Ā  Ultimately as

What’s the spiritual connection?

Eternal mystical truth and reality shows that;

ā€œWe can be happy, and serve others well,
if we realize our true Self
by detaching ourselves from the egotistic lower self –
through step-by-step becoming aware
of the stillness beneath the noise,Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā  and the timelessness beneath the time.ā€

The eternal moment is timeless
The eternal moment is timeless. The photograph also exists outside of time and in the eternal moment.

This is why photography is such a complex and tantalizing extended metaphor of the spiritual life.Ā  There is no better text to start to explore photography as a metaphor of the time-timeless conundrum than The Ongoing Moment.Ā  I have listed some reviews HERE

Coming Home: an Introduction to Spirituality

There are many who yearn for spiritual food who are put off by the antics and corruption of religions. Perennial Philosophy or mystical paths such as Sufism can provide that food. But what are the basics of this core belief that transcends religions?

This is the beginning of an attempt to provide such a n i.ntroduction. Currently I am developing it in a question and answer format.

 

 

 

 

 

 

Coming Home

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Waking up to the Spirit you have always been

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A book for the non religiously spiritual.

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Roger Prentice

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Introduction:

 

This is an attempt, using questions and answers, to present simply and clearly the truth about being spiritual ā€“ initially without reference to religions.

 

This is for family, friends and students – and all those who want to realize, i.e. realize the deepest in themselves. I haven’t achieved this to a high order. Many of you can out-do me in many good things. But it seems my task is to collect and re-present these insights. I am painfully aware of my shortcomings. But as Heschel says to be human is to suffer the knowledge of the difference between what we should be and what we are. The only ‘crime’ is to say ‘that’s the way I am and I’m not going to change’. To say that is also very dangerous. We are all designed to struggle toward our own perfection ā€“ to become more and realize our gifts more fully in the mutuality of love.

 

This is an action-based account i.e. there are a range of simple ‘To do’ practices that can help you relax into:

To do: Sit quietly as often as you can ā€“ and let your breath breathe you. (More to follow)

 

Part 1 is an attempt to present the ‘bare bones’ without reference to the great and the good, or to philosophies or religions.

 

Part 2 goes a stage deeper and introduces ideas from some of the great and the good ā€“ people such as Ken Wilber.

 

Part 3 goes deeper.

Coming Home

Part 1- Re-finding our-selves = re-finding the spirit we thought we had lost

 

Q. What is spirit?

A. All that isn’t simply physical.

 

Q. Does that mean mind as well as feelings?

A. Yes if we put mind and heart together we get ‘heart-mind’. Heart-mind = our interior landscape or simply consciousness ā€“ the great inner ‘sea’ of feelings and thoughts. Neither heart nor mind in this sense are physical.

 

Q. Is that all spirit is?

A. It a) is the life-force b) the force of attraction that holds all bodies together and c) it is walking on in the right spirit – until all becomes Spirit.

 

Q. Are there other names for the spiritual?

A. Yes many ā€“ love, energy, chi etc.

 

Q. So spirit, or love as attraction, holds everything together?

A. Yes. Another definition of being spiritual is ‘to live for others’, to be of service.

 

Q. What else comes from spirit, apart from the warmth of love?

A. The light of the mind, knowing. ‘Warmth and holding together’ and ‘the light of seeing and knowing’ ā€“ both flow from love.

 

Q. What about everyday activities? Is walking spiritual?

A. It can be.

 

Q. Is running spiritual?

A. It can be.

 

Q. Is Sky-diving spiritual?

A. It can be.

 

Q. Is sex spiritual?

A. It can be.

 

Q. Is breathing spiritual?

A. It can be. The great yogic teaching is that the breath is that which connects the physical and the spiritual.

 

Q. Why ‘can be’ in all of these?

A. It is ‘yes’ if we a) re-cognize such activities in the context of the spiritual and b) realize the eternal in ourselves.

But it is ‘no’ if we remain tied to the miseries of our own ego.

 

Q. Does that mean that everyone is spiritual?

A. Yes but each needs to plug in and switch on! We all spring from the Whole, just as sunlight emanates from the sun. But we have to allow ourselves to feel, & acknowledge, the awareness that deep down we know was there from the beginning.

 

Q. Is being spiritual a normal state of being?

A. Yes it is simply being more than self-centredness. It is being conscious of the Whole/the Source/the Spirit that is beyond our individual ego. This consciousness gradually widens the circle of its concern and allows us to lessen our attachment to our ego.

 

Q. So loving more widely ā€“ like the outflowing circles from a dropped stone in a pond – is freeing?

A. Yes – those who really achieve insight cease to be run by the pleasures and torments of the the ‘small self’ ā€“ the ego and tru freedom increases..

 

Q. Isn’t this something that only special people ā€“ saints or mystics ā€“ can do?

A. No it is part of being human and we all have such experiences. But we fail to realize their closeness and fullness, mainly because they are so simple & there all the time – we’ve failed to notice, for want of quietness and contemplation! In any case we are all mystical just as we are all philosophical its part of the package of being human ā€“ just as much as is being social, sexual and creative.

 

Q. How do we make those experiences a stronger part of our lives?

A. Contemplation or meditation ā€“ as one source says ‘Be still, and know …’.

 

Q. How do we stop or prevent ourselves being spiritual?

A. Not staying conscious of that Whole from which we spring (emanate). And by staying attached to the pleasures and torments of ego-identification.

 

Q. Is there any other sense that someone might not be, or stop being, spiritual?

A. When they are attached to any thing that prevents her/him from experiencing their true Self.

 

Q. How many kinds of attachment are there?

A. Many ā€“ we think of gross ones such as alcohol and drugs but many are subtle ā€“ materialism, status etc ā€“ some are very subtle, perhaps ultimately even the attachment to not being attached!

 

Q. What do I do if violent or filthy or self-destructive thoughts or ‘demons’ come into my head?

A. Let them pass as though they were moving across a cinema screen and say, ‘Hello good morning/ eve etc, thank you and goodbye.’ Our True Self is not our thoughts. Thoughts come from the ego.

 

Q. Why what good would that do?

A. It will help you understand that you are not your thoughts.

 

Q. If I’m not my thoughts then what am I?

A. You are part of the Whole, in the temporary emanation and form of being uniquely you for 80 or so years.

 

Q. The Whole of what?

A. The Universe and beyond (everything – and all that is beyond that isn’t a thing!)

 

Q. What else am I?

A. You are star-stuff made conscious (SEE the 3 recent BBC physics documentaries called ‘Atom’.)

 

Q. What else am I?

A. You are ‘a hairy bag of sea-soup’. (This is not only a joke but is an accurate statement about our physical make up and evolution!) Science and spirituality are two ways of approaching truth.

 

Q. Do rituals and practices help?

A. Yes providing we don’t allow them to breed complacency, narrowness, and self-satisfaction i.e. a state of attachment. The most important are contemplation/meditation, prayer, and service to others.

 

Q. What really is contemplation or meditation?

A. Being still to experience our True Self, instead of the mind chatter and ‘TV interference’ of the ego.

 

Q. And what is the ultimate secret of the universe?

A. It is pointed to, not described, in these the final sentences of Wilber’s The Eye of Spirit;

When the great Zen master Fa-ch’ang was dying, a squirrel screeched out on the roof. ‘It’s just this’ he said, ‘and nothing more’. SFB P.258

 

Q. I don’t geddit!

A. Here it is again from another master;

The world is illusory

Brahman alone is real;

Brahman is the world. (SFB p19)

 

Q. Still don’t geddit!

A. Here it is again from another master;

There is neither creation nor destruction,

Neither destiny nor free-will;

Neither path nor achievement;

This is the final truth. (One Taste p468)

Q. Still don’t geddit!

A. ‘Walk on‘ (The Buddha). Walk on in the right spirit ā€“ lighten up and have forgiving and compassionate fun – until all becomes Spirit.

 

End of Part 1 (To be developed)

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All postings to this site relate to the central SunWALK model in the PhD.

Summaries are HERE

Wilber aphorisms

To take nourishment rapidly, as in the beautiful explosion of a great Haiku or short Zen poem,

furuike ya / kawazu tobikomu / mizu no oto
the old pond / a frog jumps in– / water’s sound [1686]Ā Ā  Wiki

I am putting together some of my favourite short Wilberisms – aphorisms if you like, more direct than concepts.

SFB = The Simple Feeling of Being pub. Shambhala

Blocked emotions

Ā …when we rest as ever-present Witness, we are not in time.Ā  p248

Every form of mditation is bsically a way to transcend the ego, or die to the ego.Ā  p148.

To understand the whole it is necessary to understand the parts.Ā  ToĀ  understand the parts, it is necessary to understand the whole.Ā  Sch is the circle of understanding.Ā  p200

When I am not an object, I am God.Ā  When I seek an object, I cease to be God, and that catastrophe can never be corrected by more searching for more objects. p249

The entire Kosmos exists as a network of rights and responsibilities correlative with degrees of depth and consciousness.Ā  p200

The block is released when feeling-attention can flow through that area in a full and perfectly unobstructed fashion on its way to infinity. p119

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All postings to this site relate to the central model in the PhD.

Summaries are HERE

‘Definition of God’ – and it still leaves us with the job of living with each other through the unity of mystery

The nearest I have ever come across to a satisfactory definition of God is as follows;

God is a circle whose centre is everywhere, whose circumference is nowhere.

Anonymous, ‘The Book of the Twenty-four Philosophers‘ (12thC)

Of course it isn’t really a definition – it’s more like a Zen Master’s ‘pointing’ – but what a pointing!

Of course I like it because it expresses my theological perspective and worldview – that of immanence plus transcendence i.e. panentheism.

Of course unless we lie through assertion or dupe through self-deception we don’t really, unequivocally, know. The best we can have is reasonably high degrees of certainty – and then preferably by combining several ways of knowing including sense observation, reason, intuition and the precedent of community precedents. We in truth live with mystery. As it says in the Koran ‘Man is my mystery and I am his‘.

ā€œWe are united by our doubts and divided by our convictions.ā€ Sir Peter Ustinov

Recognition of ignorance is strength not weakness as Saint Augustine pointed out;

I am in a sorry state, for I do not know what I do not know!

Because we have unique histories we have unique worldviews. In fact it is the fact that at our centre we need faith to bridge the gap that exists between knowing and not knowing between finite humanity and that other defining characteristic of God – infinity.

As I suggested elsewhere excesses of certitude cut us off from truth and can lead to horrors of cruelty ā€“ the Nazis were certain that Jews, and Gypsies were sub-human.

ā€œCertitude divides and diversity unifiesā€¦..We have to elevate religion above politicsā€¦..ā€

H.R.H. Prince El-Hassan Bin Talal of Jordan BBC Newsnight 9th Feb 2006

All desire to be united is as the drop that longs to come one with the ocean – the rub, and the joy, is that the duality through which we learn is the dynamic that exists between oneness on the one hand, via contemplative letting go of the ego, and l-one-ly separation on the other.

Willard Wigan – small is beautiful – but would the ArtWorld say it isn’t art?

wigen3.jpg

Willard Wigan creates sculpture in the eye of a needle or on the head of a pin.

wigen6.jpgSugar (?) and…..

wigan-2.jpgLiberty’s statue

wigen9-the-thinker-on-the-head-of-a-pin.jpgIs this thinker’s thoughts small or large?

wigen4.jpgElvis on his pin-head.

wigen-visitors-view-exhibits-through-a-microscope.jpgVisitors to Willard Wigan’s exhibitions view his work through a microsope!

wigen5.jpgThe match.

willard-titanic.jpg The Titanic

wigan-the_wizard_of_oz_willard_wigan_piece.jpgThe Wizard of Oz

willard-6-wives-of-henry-viii.jpgThe Six wives and Henry VIII+

Of course ‘skill isn’t art’ the ‘ArtWorld’ would say – but it certainly cheered my day!

But how does he do it? According to

Willard Wigan is a “micro-miniaturist,” an artist known for creating some of the world’s smallest sculptures. As he and his work are described on his web site:

Willard Wigan was born in Birmingham, England in 1957 and is the creator of the smallest works of art on earth. From being a traumatized and unrecognized dyslexic child, he is now emerging as the most globally celebrated micro-miniaturist of all time and is literally capable of turning a spec of dust into a vision of true beauty.

Willard can create a masterpiece within the eye of a tiny sewing needle, on the head of a pin, the tip of an eyelash or a grain of sand. Some are many times smaller than the fullstop at the end of this sentence.

Many are even smaller still, with some being completely invisible to the naked eye yet, when viewed through high power magnification, the effect on the viewer is truly mesmerising. Willard, who is completely self-taught has baffled medical science and been the subject of discussions among micro-surgeons, nano-technologists and at universities worldwide. His work is ground-breaking ā€” partly because of the astounding beauty of vision which challenges the belief system of the mind and partly because it demonstrates that if one person can create the impossible, we all have the potential to transcend our own limiting beliefs about what we are capable of.

He works in total solitude at a quiet retreat in Jersey mainly at night when there is a greater sense of peace in the world and less static electricity to interfere with the immeasurable precision and tolerances required to create the pieces.

The smallest sculptures can only be measured in thousandths of an inch which is why they can sit, very delicately, on a human hair three thousandths of an inch thick. When working on this scale he slows his heartbeat and his breathing dramatically through meditation and attempts to harmonize his mind, body and soul with the Creator. He then sculpts or paints at the centrepoint between heartbeats for total stillness of hand. He likens this process to “trying to pass a pin through a bubble without bursting it.” His concentration is intense when working like this and he feels mentally and physically drained at the end of it.

Willard Wigan works with materials such as toothpicks, sugar crystals, and grains of rice and sand, spending months meticulously carving his materials into micro-figures like the ones displayed above.

And the great driver of ‘rarity and monetary value’ has slapped the art mafia in the face since Wigan’s site tells us ;

Former England Davis Cup captain turned entrepreneur, David Lloyd purchased the remaining Willard Wigan collection of micro sculptured art in February 2007, The collection was subsequently insured by Lloydā€™s of London for Ā£11.2 million.

A long time anonymous collector of art, David Lloydā€™s purchase has been viewed by many as a significant coup in the art world.

Willard whose work has been described by many as ā€˜the eighth wonder of the worldā€™ received his MBE for services to art from HRH the Prince of Wales in July 2007.

Thereafter, Willard was commisioned by Lloyds of London to replicate the iconic Lloydā€™s of London Building as designed by the award winning architect, Lord Richard Rogers. The difference however being that Willard’s masterpiece was on a pinhead,, which was then sold by Eric Knowles (Bonhamā€™s Fine Art) for Ā£94,000.

From October 2007, the David Lloyd Gallery will be undertaking a touring exhibition of Willardā€™s work around the United Kingdom. Willard is then scheduled to tour America and Canada.

Willard Wigen’s site is HERE

BBC interview with Wigen is HERE

Other source Snopes Urban Myths HERE – but this story is true!

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A video-lecture by Bill Viola – via the Tate Modern

Tate Modern video presentations are HERE

Go HERE to see a video-lecture by Bill Viola.

 

Bill Viola has been making video tapes, architectural installations, sound environments, electronic music performances and works for television for over 30 years. His video installations such as Nantes Triptych 1992 and Five Angels for the Millennium 2001, which are both in the Tate Collection, are total environments that envelop the viewer in image and sound.

On the eve of a major new exhibition, LOVE/DEATH: The Tristan Project, at Haunch of Venison in London, Viola talks about his career and recent work.

In collaboration with Haunch of Venison

All works of art though visible represent invisible things,” (by or about Bill Viola)

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NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

 

Flatland, Modernism, pre-modernism and post-modernism – Ken Wilber’s view

If you’ve struggled with what people actually mean by postmodernism and its relationship to modernism and pre-modernism you might appreciate these extracts from Ken Wilber’s Integral Psychology – I certainly did.

 

See also my other posting on I, WE & IT and also the posting on Mythos and Logos including Karen Armstrong’s work.

 

Modernism, pre-modernism and post-modernism

In other words, the four quadrants (or the Big Three) are actually the underpinnings of the modern differentiation of the values spheres of art, morals and science. Where premodernity had tended to fuse, or not clearly differentiate, the Big Three, modernity clearly differentiated them and set each free to pursue its own path. This differentiation was part of the dignity of modernity, which, in allowing each domain to pursue its own truths, allowed each to make stunning and far-reaching discoveries , discoveries that, even the harshest critics agree, set modernity apart from premodernity.

 

But something else set modernity apart. The differentiation of the big Three went too far into the dissociation of the Big Three : the dignity drifted into disaster, and this allowed an imperialistic science to dominate the other spheres and claim that they possessed no inherent reality of their own (scientism, scientific materialism, one-dimensional man, the disenchantment of the world). Gone was mind and soul and spirit, and in their place, as far as the eye could see, the unending dreariness of a world of its; ” a dull affair, soundless, scentless, colourless; merely the hurrying a material, endlessly, meaninglessly.”

 

And so it came about that virtually the entire spectrum of consciousness, and certainly its higher levels, (soul and spirit), were reduced to permutations and combinations of matter and bodies. Put bluntly, all ‘Is’ and ‘we’s’ were reduced to ‘its’, to objects of the scientific gaze, which no matter how long or hard it looked, could find nothing resembling the Great Nest of human possibilities, but saw only endless patterns of process ‘its’, scurrying here and there. Integral Psychology P.64

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Thus , it seems that premodernity had at least one great strength that modernity lacked: it recognized the entire Great Nest of Being, which is basically a general map of higher human potentials. But premodernity also had at least one great weakness; it did not fully differentiate the value spheres at any of the levels of the Great Nest. Thus, among other things, objective-scientific investigation of the spectrum was hampered; the specific and often cultural expressions of the Great Nest were taken to be universally valid; and the moral injunctions recommended to all were tied to those limited cultural expressions. Giordano Bruno might have experienced many of he upper levels of the Great Nest, but because the value spheres were not fully differentiated at large and their individual freedoms were not protected by law and custom, the Inquisition cheerfully burned him at the stake.

 

Modernity, on the other hand, did manage to differentiate the Big Three of art, morals and science, on a large scale, so that each began to make phenomenal discoveries. But as the Big Three dissociated, and scientific colonialism began its aggressive career, all ‘Is’ and all ‘we’s’ were reduced to patterns of objective ‘its’, and thus all the interior stages of consciousness ā€“ reaching from body to mind to soul to spirit ā€“ were summarily dismissed as so much superstitious nonsense. The Great Nest collapsed into scientific materialism ā€“ into what we will be calling “flatland” ā€“ and there the modern world, by and large, still remains.

 

Our job, it thus appears, is to take the strengths of both premodernity and modernity, and jettison their weaknesses. Pp 64-65

To re-legitimize other ways of knowing, to work clearly with and between all three I, WE & IT ways of knowing (plus community-tradition) brings the possibility of re-enchantment and balanced development of the individual and of societies!

The model at the heart of this site utilizes Wilber’s triadic structure you can read a summary HERE.

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All postings to this site relate to the central model in the PhD.

Summaries are HERE

 

ā€œThe Self is an ocean without a shore”: Bill Viola, a perfect match of spirit and form?

THE ARGUMENT The past lives only in the present in that our consciousness is marked and shaped by those whose insights we come to re-realize – including those that come from the great spiritual teachers. Memories are like art and sacred writings that are simply marks made – but marks made that can transport us to our own high realization in inspired consciousness. Bill Viola is now re-presenting us through his mastery of one of newest of mediums, video, with access to that spiritual core at the heart of the great world wisdom traditions. Is this a perfect post-modernist match of spirit and form?

In my SunWALK model about ‘what it is to be human‘ and about ‘how can we spiritualize education without the exclusivity of sectarian religion‘ I was inspired by several quotations as well as by Seamus Heaney’s poem Personal Helicon.

Bill Viola from ‘Ocean Without a Shore‘ – click to see full size – Source artdaily

“One of the things the camera taught me was to see the world, the same world that my eye sees, in its metaphoric, symbolic state. This condition is, in fact, always present, latent in the world around us .”
Bill Viola

I was interested to see news about Bill Viola’s recent work ‘Ocean Without a Shore’ (shown at Chiesa di San Gallo, Venice). Viola’s website cites the following two inspirations;

ā€œThe Self is an ocean without a shore. Gazing upon it has no
beginning or end, in this world and the next.ā€

Ibn alā€™Arabi (1165 ā€“ 1240)

From the Viola site we learn;

‘Ocean Without a Shore’ is about the presence of the dead in our lives. The three stone altars in the church of San Gallo become portals for the passage of the dead to and from our world. Presented as a series of encounters at the intersection between life and death, the video sequence documents a succession of individuals slowly approaching out of darkness and moving into the light. Each person must then breakthrough an invisible threshold of water and light in order to pass into the physical world. Once incarnate however, all beings realize that their presence is finite and so they must eventually turn away from material existence to return from where they came. The cycle repeats without end.

The work was inspired by a poem by the 20th century Senegalese poet and storyteller Birago Diop:

ā€œ Hearing things more than beings,
listening to the voice of fire,
the voice of water.
Hearing in wind the weeping bushes,
sighs of our forefathers.

The dead are never gone:
they are in the shadows.
The dead are not in earth:
theyā€™re in the rustling tree,
the groaning wood,
water that runs,
water that sleeps;
theyā€™re in the hut, in the crowd,
the dead are not dead.

The dead are never gone,
theyā€™re in the breast of a woman,
theyā€™re in the crying of a child,
in the flaming torch.
The dead are not in the earth:
theyā€™re in the dying fire,
the weeping grasses,
whimpering rocks,
theyā€™re in the forest, theyā€™re in the house,
the dead are not dead.ā€
(from David Melzter, ed. Death – An Anthology of Ancient Texts, Songs, Prayers and Stories (San Francisco: North Point Press, 1984)

The Ibn alā€™Arabi quotations reminded me of my attempt to portray our state in visiting ‘the shoreline’ and encountering the unknowable Whole – in my Personal Myth and the four key qutations (SEE below)

The poetic sense of the dead speaking in the ‘dying fire, the weeping grasses’ etc is secondary for me to how they live on in the consciousness that we possess, because of them. Our spirits continue to live out their consciousness through ours.

FOUR KEY QUOTATIONS

The Ibn alā€™Arabi quotation also reminded me of the inspiration I got from four key quotations in relation to a sense of the Whole and to a panentheistic and Universalist perspective I hoped that they contributed to the leitmotif that made of the thesis parts, a whole;

Text 1)

“The larger the island of knowledge, the longer
the shoreline of mystery.” Unknown author

Text 2)

The search for reason ends at the shore of the known;
on the immense expanse beyond it
only the sense of the ineffable can glide.
It alone knows the route to that
which is remote from experience and understanding.
Neither is amphibious:
reason cannot go beyond the shore,
and the sense of the ineffable
is out of place where we measure, where we weighā€¦ā€¦.

Citizens of two realms, we must all sustain dual allegiance:
we sense the ineffable in one realm;
we name and exploit reality in another.

Between the two we set up a system of references,
but can never fill the gap.
They are as far and as close to each other

As time and calendar, as violin and melody,
as life and what lies beyond the last breath.

The tangible phenomena we scrutinize with our reason,

The sacred and indemonstrable we overhear

with the sense of the ineffable.

Heschel A. J. (1971), Man is Not Alone, New York: Octagon Books p.8

Text 3)

Tao, the subtle reality of the universe

cannot be described.

That which can be described in words

is merely a conception of the mind.

Although names and descriptions have been applied to it,

the subtle reality is beyond the description.

One may use the word ‘Nothingness”

to describe the Origin of the universe,

and “Beingness”

to describe the Mother of the myriad things,

but Nothingness and Beingness are merely conceptions.

From the perspective of Nothingness,

one may perceive the expansion of the universe.

From the perspective of Beingness,

one may distinguish individual things.

Both are for the conceptual convenience of the mind.

Although different concepts can be applied,

Nothingness and Beingness

and other conceptual activity of the mind

all come from, the same indescribable subtle Originalness

The Way is the unfoldment of such subtle reality.

Having reached the subtlety of the universe,

one may see the ultimate subtlety,
the Gate of All Wonders.

Ni, Hua-Ching (1997), The Complete Works of Lao Tzu, Santa Monica, USA: Seven Star Communications – Tao The Ching (‘Chapter’ 1)

Text 4)

ā€¦.set then yourselves towards His holy Court, on the shore of His mighty Ocean, so that the pearls of knowledge and wisdom, which God hath stored up within the shell of His radiant heart, may be revealed unto you….
(Baha’u’llah: Proclamation of Baha’u’llah, Pages: 8-9)

The past lives only in the present in that our consciousness is marked and shaped by those whose insights we come to re-realize – including those that come from the great spiritual teachers. Memories are like art and sacred writings that are simply marks made – but marks made that can transport us to our own high realization in inspired consciousness. Bill Viola is now re-presenting us through his mastery of one of newest of mediums, video, with access to that spiritual core at the heart of the great world wisdom traditions. Is this a perfect post-modernist match of spirit and form?

The mystic inner core of the great world wisdom traditions is incorrectly named as Perennial Philosophy

ā€¢ Thereā€™s a reality beyond the material world:
ā€¢ Which is uncreated.
ā€¢ It pervades everything,
ā€¢ but remains beyond the reach of human knowledge and understanding.
ā€¢ You approach that reality by:
ā€¢ Distinguishing ego from true self
ā€¢ Understanding the nature of desire
ā€¢ Becoming unattached
ā€¢ Forgetting about preferences
ā€¢ Not working for personal gain
ā€¢ Letting go of thoughts
ā€¢ Redirecting your attention
ā€¢ Being devoted
ā€¢ Being humble
ā€¢ Invoking that reality
ā€¢ Surrendering
ā€¢ That reality approaches you through:
ā€¢ Grace
ā€¢ The teacher
ā€¢ Youā€™re transformed so that you embody that reality by:
ā€¢ Dying and being reborn

Two views of the structure of Perennial Philosophy are HERE

Viola in our sea of uncertainty, and maelstrom of violence, is helping us re-connect.

Perhaps also Viola is showing us that video can do more fully what photographers – Minor White for example – have longed to do – to ‘en-form’ the spiritual?

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All postings to this site relate to the central model in the PhD.

Summaries are HERE

Inspiring quotations for PhD thesis

Like heroes and heroines certain key sayings inspire us. Here I’m assembling the ones that have meant most to me.

As I re-find them I am putting the NEWEST at the top:

From my thesis;

The four texts that contributed to the leitmotif that, I hope, makes, of the thesis parts, a whole

Text 1)

“The larger the island of knowledge, the longer
the shoreline of mystery.” Unknown author

Text 2)

The search for reason ends at the shore of the known;
on the immense expanse beyond it
only the sense of the ineffable can glide.
It alone knows the route to that
which is remote from experience and understanding.
Neither is amphibious:
reason cannot go beyond the shore,
and the sense of the ineffable
is out of place where we measure, where we weighā€¦ā€¦.

Citizens of two realms, we must all sustain dual allegiance:
we sense the ineffable in one realm;
we name and exploit reality in another.

Between the two we set up a system of references,
but can never fill the gap.
They are as far and as close to each other

As time and calendar, as violin and melody,
as life and what lies beyond the last breath.

The tangible phenomena we scrutinize with our reason,

The sacred and indemonstrable we overhear

with the sense of the ineffable.

Heschel A. J. (1971), Man is Not Alone, New York: Octagon Books p.8

Text 3)

Tao, the subtle reality of the universe

cannot be described.

That which can be described in words

is merely a conception of the mind.

Although names and descriptions have been applied to it,

the subtle reality is beyond the description.

One may use the word ‘Nothingness”

to describe the Origin of the universe,

and “Beingness”

to describe the Mother of the myriad things,

but Nothingness and Beingness are merely conceptions.

From the perspective of Nothingness,

one may perceive the expansion of the universe.

From the perspective of Beingness,

one may distinguish individual things.

Both are for the conceptual convenience of the mind.

Although different concepts can be applied,

Nothingness and Beingness

and other conceptual activity of the mind

all come from, the same indescribable subtle Originalness

The Way is the unfoldment of such subtle reality.

Having reached the subtlety of the universe,

one may see the ultimate subtlety,
the Gate of All Wonders.

Ni, Hua-Ching (1997), The Complete Works of Lao Tzu, Santa Monica, USA: Seven Star Communications – Tao The Ching (‘Chapter’ 1)

Text 4)

ā€¦.set then yourselves towards His holy Court, on the shore of His mighty Ocean, so that the pearls of knowledge and wisdom, which God hath stored up within the shell of His radiant heart, may be revealed unto you….
(Baha’u’llah: Proclamation of Baha’u’llah, Pages: 8-9)

ā€œThe utterances of the heart ā€” unlike those of the discriminating intellect ā€” always relate to the whole.ā€ (Jung)

Also from the thesis;

Introduction to Chapter 1 ā€“ an ā€˜overtureā€™

By way of a short introduction I want to ā€˜soundā€™, as in an overture, certain ā€˜notesā€™, or themes or resonances. They are from writers, and a film-maker, whose statements have come to mean a great deal, in the struggle to search out my own story, and its meaning educationally.

Autobiography is a journey inward. St Augustine said:

Men go to gape at mountain peaks, at the boundless tides of the sea, the broad sweep of rivers, the encircling ocean and the motion of the stars; and yet they leave themselves unnoticed; they do not marvel at themselves.
St. Augustine, Confessions X2

Autobiography is not entirely a matter of re-collecting objective facts: it is re-creation as well as re-collection, but it is a seeking after a kind of truth; the truth of authentically being in oneself. Peter Abbs (1974 p. 7) calls autobiography: the search backwards into time to discover the evolution of the true self. It is, as such, about self-knowing, but something beyond the fripperies of the ego. Bahaā€™u’llah, Founder of the Bahaā€™i religion, in one of His own writings, cites a tradition from Islam: He hath known God who hath known himself. (Bahaā€™u’llah: Gleanings, MARS database3 p.178).

For the theistically religious the more we come to know our true selves, the closer we come to the Divine within us, and vice versa. I make no claim, beyond a few faltering steps, but the ideas continue to inspire.

The ā€˜Thesis Poemā€™
I have chosen the following poem by Seamus Heaney (1996 p.14) as ā€˜the poemā€™ for the thesis because it shows beautifully how we resonate now, in relation to what we sensed and experienced as children. It also shows how, through metaphor, the objective connects with the subjective to thrill, to the very quick of our being.

About the poem, ‘Personal Helicon’ Pelligrino (2003 p.1) explains;

Mount Helicon is a mountain in Greece, that was, in classical mythology, sacred to Apollo and the Muses. From it flowed two fountains of poetic inspiration. Heaney is here presenting his own source of inspiration, the ā€œdark dropā€ into personal and cultural memory, made present by the depths of the wells in his childhood. Now, as a man, he is too mature to scramble about on hands and knees, looking into the deep places of the earth, but he has his poetry ā€“ and, thank God, so do we.

Of course if Heaney was reading it we would have that wonderful voice, like an aromatic tree giving up the sap, and perfuming the air with all the good things from the soil.

Personal Helicon by Seamus Heaney
for Michael Longley

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.
One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.
A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.
Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.
Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.

Later I take up the issues of resonance, and of objective and subjective meaning combined in metaphor, and the power of the subjective in personal history, to continue to generate the new in the meaning-making we do. The darkness echoes, as we stare into the part darkness of the self, and its memories – we stare, each a big-eyed Narcissus.

The final ā€˜soundingā€™, or theme, in the Introduction to Chapter 1 concerns identity and the moment, which lives on, and in which the past continues to create. The piece is by Jorge Luis Borges4, who says:

Any life, no matter how long and complex it may be, is made
up of a single moment ā€“ the moment in which a man finds
out, once and for all, who he is.

The one moment could conceivably be a choice – as in Japanese filmmaker Hirokazu Kore-edaā€™s After Life where a group of 22 people are suspended between earth and heaven with a week to answer the important question: ā€œWhat is the one memory that you choose to carry into the afterlife?ā€ When each chooses his or her memory, this is all that will be remembered for eternity.

Professionally, the lesson, or pair of lessons, upon which this thesis is, in part, an extended reflection contains the one memory I would choose. Ideally it would be the whole of the two ā€˜storyā€™ lessons.

If it was reduced just to seconds it would be the moment that one ā€˜deviantā€™ boy offered an explanation of the possible symbolic meaning of the two fishes that I had drawn on the blackboard. One fish was a line drawing, the other a similar shaped fish, but its shape was delineated via chalk shading (i.e. from ā€˜the outsideā€™).

ā€œMr P I think one fish represents bounded imagination, and the other stands for unbounded imagination.ā€

His brilliantly insightful comment was the jewel in the crown of an outstanding lesson in which the class and I, so I felt, was as ā€˜one-mindā€™, intellectually sharp but attitudinally contemplative, in ā€˜cross-overā€™ from extreme left-brain and extreme right-brain engagement ā€“ and here he was, the boy always in trouble with various teachers, speaking my as yet unrealized thoughts, and riveting me to that moment.

It was the supreme moment, within the supreme experience in a life-time of teaching, and it was, as Jack Nicholson and the movie title say, ‘As good as it gets’.

One key quotation is missing from this section. It is; ā€œThe larger the island of knowledge,the longer the shoreline of mystery.ā€ Anon. I now find that in a piece of his work Bill Viola was inspired by;

ā€œThe Self is an ocean without a shore. Gazing upon it has no
beginning or end, in this world and the next.ā€
Ibn alā€™Arabi (1165 ā€“ 1240)

The ocean and island metaphors, the limitless Self, the fathomless self, the moment and memories, ‘After Life’, self-knowledge and the impossibility of knowing the Self – all these and more are essential threads in my attempt too present in SunWALK a model of what it is to be positively and fully human as well as a model of how education can be intrinsically spiritualizing without the narrow sectarian religion.

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All postings to this site relate to the central model in the PhD.

Summaries are HERE


Where does Aesthetics and Aesthetic experience fit in all of this? (re Wilber, heart-knowing, head-knowing, and the 3 ā€˜voicesā€™)

see post on September 5th, 2007

 

Where does Aesthetics and Aesthetic experience fit in all of this?

Aesthetics belongs to the science of philosophy (Criticality) BUT aesthetic experiences are ā€˜subjective-creative-mysticalā€™ i.e they are Creative and subjective.

 

The Indian philosopher Coomaraswami said that art and religion were not similar – they are, he said, the same. I would say that they are the same in that both involve engagement that involves a ‘loss of ego boundaries’ i.e. they are ‘unitive’ experiences. But both of these are or can be morally neutral activities. Religion on the other hand is false if its spirituality does not engender right action.

 

Aesthetic experience then, so I argue, is closer to artistic creation and is similar to mystical experience. We may or may not see our unitive experience as taking place within a moral context or a moral world-view, such as a religion. That is a unitive experience like membership of a religion, or a taste for spiritual food does not of itself mean that we and our actions are moral. We have more or less the sensibility and will to grasp the moral implications and act on them

 

Our moral sense comes from parents, family, schooling etc. If we are religious then a major shaper of our moral sensibility is the founder of the religion and his/her teachings. If we are Humanist or a ‘Free-thinker’ other inspiring individuals shape our moral sensibility.

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All postings to this site relate to the central model in the PhD. Summaries are HERE

 

 

 

Ancient wisdom: insights from Sufi sacred Islamic poetry

I came across this wonderful poem in The Sufi Book of Life by Neil Douglas-Klotz (p.56)


‘I’ and ‘you’ focus light

like decorative holes cut

in a lampshade.

But there is only One Light.

 

‘I’ and ‘you’ throw a

thin veil between

heaven and earth.

Lift the veil and all

creeds and theologies disappear.

 

When ‘I’ and ‘you’ vanish,

how can I tell whether I am

in a mosque, a synagogue,

a church, or an observatory.

Shabistari ā€“ Sufi poet

We think that the idea that truth is one and all religions are the same at their core – that as Ghandi said,”God has no religion”- as being modern but here we can see these ideas in this poem from the 13th/14th century.

In looking for more information I came upon the material listed below. It set me thinking along a theme that first took my interest long ago. So much wisdom that we desperately need is enshrined not just in the philosophy of the past but also in ancient poetry and other forms of literature.

A wealth of wisdom and sacred insight can be ‘sipped at’ the Poetry Chaikana

What is a Chaikhana?

A chaikhana is a teahouse along the legendary Silk Road pilgrimage and trading route linking China to the Middle East and Europe. It is a place of rest along the journey, a place to shake off the dust of the road, to sip tea, and to gather together to sing songs of the Divine..

So enjoy visiting the tea-house.

The complete text of Shabistari’s The Rose Garden is HERE

You can find out more about Shabistari starting with Wiki HERE

Another good place to start re Sufism and beautiful poetry is the UK Rumi organization HERE

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All postings to this site relate to the central model in the PhD.

Summaries are HERE

Perennial Philosophy or Primordial Tradition?: Huston Smith, Aldous Huxley and Ken Wilber – a view by James Baquet

James Baquet has a very interesting site – Take a look at Baquet’s site HERE It has a lot to say about Perennial Philosophy an the Primordial Tradition;

The modern popularity of the term can probably be attributed to the work of Aldous Huxley (1894-1963), who used the three words “The Perennial Philosophy” as the title of his erudite anthology of religious ideas. (See the Table of Contents here.) In defining the Perennial Philosophy in this book, Huxley doesn’t lay out the same four steps I described above; rather, he (fittingly) gives a more “esoteric” definition:

the metaphysic that recognizes a divine Reality substantial to the world of things and lives and minds; the psychology that finds in the soul something similar to, or even identical with, divine Reality; [and] the ethic that places man’s final end in the knowledge of the immanent and transcendent Ground of all being (vii)

(I discuss this definition, and the following one, more thoroughly in my article “This World and That“, in the section subtitled “Two Definitions of the Perennial Philosophy.”)

Closer to my formulation, but still not identical with it, is the definition he gives in his Introduction to the Bhagavad-Gita (as translated by Prabhavananda and Isherwood):

At the core of the Perennial Philosophy we find four fundamental doctrines.

  • First: the phenomenal world of matter and of individualized consciousness–the world of things and animals and men and even gods–is the manifestation of a Divine Ground within which all partial realities have their being, and apart from which they would be non-existent.
  • Second: human beings are capable not merely of knowing about the Divine Ground by inference; they can also realize its existence by a direct intuition, superior to discursive reasoning. This immediate knowledge unites the knower with that which is known.
  • Third: man possesses a double nature, a phenomenal ego and an eternal Self, which is the inner man, the spirit, the spark of divinity within the soul. It is possible for a man, if he so desires, to identify himself with the spirit and therefore with the Divine Ground, which is of the same or like nature with the spirit.
  • Fourth: man’s life on earth has only one end and purpose: to identify himself with his eternal Self and so to come to unitive knowledge of the Divine Ground.

(bullets added)

My four points are implicit in his, but I spell them out differently. As described here, they are quite similar, but Huxley’s 2 and 3 are reversed in comparison to mine.

Huston Smith

Huxley died (on the same day as JFK) in 1963. While he was still alive, another, younger, scholar was already making his mark on the “world religions” scene. Huston Smith, now in his late 80s (born 1919), has been both expounding and living the Perennial Philosophy for all of his adult life. (I had the pleasure of hearing Dr. Smith speak in 1997, before I went to Japan; someday I’ll post my notes from that afternoon.)

Dr. Smith uses the term “The Primordial Tradition” to discuss what I have been calling the Perennial Philosophy. He believes that, since “perennial” means “at all times,” it neglects the “everywhere” aspect of this philosophy. You can read more about this in this interview. In a nutshell, Dr. Smith says that the Primordial Tradition is both timeless and spaceless as well, “because it was not only always, but everywhere”–echoing Vincent of Lerins. The universe, he says, “fits into the primordial tradition but does not exhaust it. There are reaches beyond the physical.” He says that science is doing a fine job of learning about “the physical reaches of reality,” but that we are in danger of losing sight of the “other regions of reality which continue to exist whether we attend to them or not”–in other words, the “something bigger.”

He also noted that in writing his book The Religions of Man (now published as The World’s Religions), which focuses on what is different in the individual religions, he “became more and more struck by recurrent themes which seemed to surface just time and again like echoes.” Later, in another book entitled Forgotten Truth, he explored these “common denominators that ran through them all.”

Forgotten Truth examines our place in the various levels of the world around us. The modern view, Dr. Smith says, reflects the primordial, in that humans are in the center between a “world above” and a “world below.” Look at this chart, from page 4:

Dr. Smith’s footnote points out these parallels:

2-views.jpg

Modern=Scientific=Secular

Primordial=Humanistic=Sacred

In the Modern/Scientific/Secular view, humans occupy the “Meso-world,” between the larger (in simple terms, “galactic”) world above and the smaller (“microscopic”) world below. The Modern hierarchy is based on both size and the strength of the binding forces; these are measures of Quantity.

Both of the Primordial models, on the other hand, look to measures of Quality: in the popular notion, happiness or “Euphoria” is highest at the Heavenly level, and lowest in Hell; we on Earth are in between. The more sophisticated, “Reflective” Primordial view sees Being as the source of this hierarchy: the Higher Planes participate in Being in greater amounts; the Lower, in lesser. Again, Euphoria and Being are measures of the Quality, not Quantity, of things, and this emphasis on quality unites the Popular and Reflective worldviews.

This kind of connective thinking, seeing that worldviews have changed but that they are still based on hierarchies of Things Above and Below, will be returned to in the discussion of Neo-Perennialism below. But I offer them here as evidence of Dr. Smith’s deep thinking about how the Elementary idea (in Campbell/Bastian’s term) of Hierarchy has manifested itself various times, and even in different forms to the popular and reflective minds of the same era.

Ken Wilber

Reluctantly leaving Dr. Smith for now, we turn to an even more contemporary thinker, Ken Wilber (born 1949). Best known for his Buddhist and psychological writings, Wilber is also a proponent of Perennial themes. In the heart-rending story of his wife Treya’s battle with cancer, Grace and Grit, Wilber presents a long interview on his “Seven Points of Timeless Wisdom,” conducted by Treya before her death. You can read the full interview here; I will present only the Seven Points themselves:

  1. Spirit exists
  2. Spirit is found within
  3. Most of us don’t realize this Spirit within
  4. There is a way out
  5. The way leads to direct experience of Spirit
  6. This experience marks the end of sin and suffering
  7. Social action and compassion result

Looking again at my Four Points, we see these parallels:

Neo-Perennialism Wilber
1. There is something bigger than us 1. Spirit* exists
2. Spirit is found within
2. We either are (West) or seem to be (East) separated from it 3. Most of us don’t realize this Spirit within
3. Through various means we can become reunited with it (or realize that we already are) 4. There is a way out
5. The way leads to direct experience of Spirit
4. Once the separation is overcome, we will lead larger, richer, fuller lives 6. This experience marks the end of sin and suffering
7. Social action and compassion result
*Wilber’s use of the word ā€œspiritā€ leaps ahead and assigns a value to the ā€œsomething biggerā€ in a way that my Point 1 does not. Needless to say, that this quality ā€œis found withinā€ is a further elaboration of something I am not yet willing to concede. This will become clearer in my discussion of Neo-Perennialism below.

Again, a reading of the full interview will give you a better idea of Wilber’s thinking.

So this Perennial Philosophy (despite its immense implications) is a fairly simply idea to grasp. It reflects humankind’s universal impulse toward union with something bigger, which has been exercised in myriad ways throughout human existence. With that, I conclude my comments on the Perennial Philosophy itself.

Take a look at a range of materials on Baquet’s site HERE

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NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

Key photography quotations toward defining a photographic aesthetic

This is a running list of quotations selected to help me move toward an understanding of my own photographic aesthetic – based on the SunWALK model.

The camera is an instrument of detection. We photograph not only what we know, but also what we don’t know. ” Lisette Model

The book (Camera Lucida by Roland Barthes) develops the twin concepts of studium and punctum: studium denoting the cultural, linguistic, and political interpretation of a photograph, punctum denoting the wounding, personally touching detail which establishes a direct relationship with the object or person within it. Wiki

While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see. ~Dorothea Lange

A photograph is usually looked at – seldom looked into. ~Ansel Adams

There are always two people in every picture: the photographer and the viewer. ~Ansel Adams

The camera can photograph thought. ~Dirk Bogarde

I think the best pictures are often on the edges of any situation, I don’t find photographing the situation nearly as interesting as photographing the edges. ~William Albert Allard, “The Photographic Essay”

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence. ~Ansel Adams

The goal is not to change your subjects, but for the subject to change the photographer. ~Author Unknown

A photograph is memory in the raw. ~Carrie Latet

All photos are accurate. None of them is the truth. ~Richard Avedon

The camera cannot lie, but it can be an accessory to untruth. ~Harold Evans, “Pictures on a Page”

You don’t take a photograph, you make it. ~Ansel Adams

Most things in life are moments of pleasure and a lifetime of embarrassment; photography is a moment of embarrassment and a lifetime of pleasure. ~Tony Benn

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety. ~Ansel Adams

I never question what to do, it tells me what to do. The photographs make themselves with my help. ~Ruth Bernhard

A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don’t think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won’t take an interest in it. ~John Loengard, “Pictures Under Discussion”

I just think it’s important to be direct and honest with people about why you’re photographing them and what you’re doing. After all, you are taking some of their soul. ~Mary Ellen Mark

Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man. ~Edward Steichen

The photograph itself doesn’t interest me. I want only to capture a minute part of reality. ~Henri Cartier Bresson

The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box. ~Henri Cartier Bresson

Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again. ~Henri Cartier-Bresson

If I could tell the story in words, I wouldn’t need to lug around a camera. ~Lewis Hine

A photograph is like the recipe – a memory the finished dish. ~Carrie Latet

Everyone has a photographic memory, but not everyone has film. ~Author Unknown

Photographs that transcend but do not deny their literal situation appeal to me. ~Sam Abbel

A picture is worth a thousand words; a slide show is both. ~Author Unknown

One photo out of focus is a mistake, ten photo out of focus are an experimentation, one hundred photo out of focus are a style. ~Author Unknown

All photographs are there to remind us of what we forget. In this – as in other ways – they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it. ~John Berger

I didn’t want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature. ~Wynn Bullock

Photography deals exquisitely with appearances, but nothing is what it appears to be. ~Duane Michals

The negative is the equivalent of the composer’s score, and the print the performance. ~Ansel Adams

Useful sites

http://www.photoquotes.com/ Blogs on Photography

http://photosleavehome.blogspot.com/2005/03/john-berger-understanding-photograph.html

http://www.temple.edu/photo/photographers/

http://moma.org/collection/depts/photography/index.html

http://www.photo-seminars.com/fame.htm

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NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

 

Free Schools India – work worthy of your support?

You might feel that this work is worthy of some support, we do;

Free Schools India is a small organisation made up of people dedicated to sustainable development, and to the ideal that all children should receive a free, quality, education. We are a collection of people from several fields who have come together to start a school for the children of the rural poor in several villages. From this idea our vision for this project has grown into something bigger, and we have already moved into the provision of health care also. Our plans do not stop here though. We would one day like to be able to provide full medical insurance for the families of our children and the wider community, and maybe one day start some micro industry.

The Inspiration

While working for an anti-child labour non-governmental organisation (NGO) in Delhi , Joanna HƤrmƤ and Gaurav Siddhu had the opportunity to speak with children in the city and in villages about their experiences with school. They found in one village that several girls could have attended school, if only it had been completely free of cost. Their families were not at all reliant on the income these children received from stitching footballs all day, but the costs associated with schooling were prohibitive for them, and yet they amounted to only US$15 per annum.

Go HERE to read more about Free Schools India

Go HERE to read BBC report on Free Schools India

free-schools-india.jpg

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All postings to this site relate to the central model in the PhD. Summaries are HERE

Story and storying: the teacher’s self as text in reform of education

Parker Palmer in, The Courage to Teach, (1998 p.3), says that his book:

explores the teacherā€™s inner life, but it also raises a question that goes beyond the solitude of the teacherā€™s soul: How can the teacherā€™s selfhood become a legitimate topic in education and in our public dialogues on educational reform?

It turns out that this site is an attempt to answer Palmerā€™s question.

In a similar vein Sondra Perl (1994), (in Laidlaw, Mellett and Whitehead 2003) says:

Stories have mythic powers. To know this ā€¦ is to know the shaping power of the tale. But how, I wonder, do we see beyond the boundaries of a familiar story and envision a new one? What, in other words, are the connections between texts we read and the lives we live, between composing our stories and composing ourselves?

Stories are one answer to the question; ‘What is it that makes of the parts a whole?’.Ā  Story-making of our experience is in-built.Ā  Conversely we tend to read the world according to the stories to which we subscribe, or that we ourselves have created.Ā  A religious world-view would be an example of the former.Ā  Concerning personal stories and how we construe the world see the psychology, and methodology, of George Kelly HERE

I am seeking on this site, and have sought in my thesis, to see beyond the familiar stories of my life, and of education as it is has been, and, through ‘a re-composing’ of my life via autobiography, my teaching and dialogues, I have sought to envision a new story for education.Ā  This is what is meant by ‘applied autoethnography’.

Personal Helicon by Seamus Heaney; resonance, memory, self-understanding and depths of the soul

well-of-life.jpgSculpture the ‘Well of Life’, Zagreb – source

I chose the following poem by Seamus Heaney (1996 p.14) as ā€˜the poemā€™ for my doctoral thesis because it shows beautifully how we resonate now, in relation to what we sensed and experienced as children. It also shows how, through metaphor, the objective connects with the subjective to thrill, to the very quick of our being.

About the poem, Personal Helicon Pelligrino (2003 p.1) explains;
Mount Helicon is a mountain in Greece, that was, in classical mythology, sacred to Apollo and the Muses. From it flowed two fountains of poetic inspiration. Heaney is here presenting his own source of inspiration, the “dark drop” into personal and cultural memory, made present by the depths of the wells in his childhood. Now, as a man, he is too mature to scramble about on hands and knees, looking into the deep places of the earth, but he has his poetry ā€“ and, thank God, so do we.

Of course if Heaney was reading it we would have that wonderful voice, like an aromatic tree giving up the sap, and perfuming the air with all the good things from the soil.

Personal Helicon by Seamus Heaney
for Michael Longley

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.
One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.
A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.
Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.
Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.

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All postings to this site relate to the central model in the PhD. Summaries are HERE

The Whole and the parts, awe and concepts, head and heart

loch_awe_wild_island-600.jpgSource

Central to Heschelā€™s belief and teachings was that we should stay in touch with that experience of the Whole that engenders awe and wonder (what he also calls ā€˜radical amazementā€™). He says that;

The secret of being human is care for meaning. Man is not his own meaning, and if the essence of being human is concern for transcendent meaning, then manā€™s secret lies in openness to transcendence. Existence is interspersed with suggestions of transcendence, and openness to transcendence is a constitutive element of being humanā€¦ā€¦. Indeed, the concern for meaning of human being is what constitutes the truth of being human. A J Heschel P66 Who is Man 1965 Stanford Unity Press

This emphasis on at-one-ment however is not to the exclusion of our duality with the ā€˜realā€™ world:

The search for reason ends at the shore of the known;on the immense expanse beyond it only the sense of the ineffable can glide.It alone knows the route to that which is remote from experience and understanding. Neither is amphibious: reason cannot go beyond the shore,and the sense of the ineffable is out of place where we measure, where we weigh. Citizens of two realms, we must all sustain dual allegiance:we sense the ineffable in one realm;we name and exploit reality in another. Between the two we set up a system of references,but can never fill the gap They are as far and as close to each otherā€¦as life and what lies beyond the last breath. Man is Not Alone p8.

We learn through the dynamic switching between experiences of the Whole and experiences of the parts. Wilber also helps illuminate the ā€˜dance between the Whole and the parts;

ā€œTo understand the whole it is necessary to understand the parts. To understand the parts, it is necessary to understand the whole. Such is the circle of understanding. We move from part to whole and back again, and in that dance of comprehension, in that amazing circle of understanding we come alive to meaning, to value, and to vision: the very circle of understanding guides our way, weaving together the pieces, healing the fractures, mending the torn and fractured fragments, lighting the way ahead – this extraordinary movement from part to whole and back again, with healing the hallmark of every step, and grace the tender reward.ā€

Eye of Spirit; an integral vision for a world gone slightly mad by Ken Wilber (1997)pub. Shambhala p.1.

Since on this site, and in the Build a Better Model of Education course, we are about to become ā€˜traders in conceptsā€™ we should keep in mind Heschelā€™s wonderful statement:ā€œConcepts are delicious snacks with which we try to alleviate our amazementā€- A. J. Heschel, Man Is Not Alone p.7

This need to experience the Whole as well as focusing on parts, such as concepts, is also contained in the following metaphor:ā€œThe larger the island of knowledge,the longer the shoreline of mystery.ā€ Anon

The above quotations teach us a lot about the theme of ā€˜parts and the Wholeā€™. Another major theme is that of generacy, as opposed to degeneracy. This includes the ability to see particulars as part of the Whole in such a way as to experience their full significance (and perhaps stop time and go beyond place). The alternative to being taken out of yourself is to be eternally burdened with self!

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All postings to this site relate to the central model in the PhD. Summaries are HERE

ā€˜To see a world in a grain of sandand a heaven in a wildflower,

Hold infinity in the palm of your hand,and eternity in an hour.ā€™ William Blake

Mystical implications of photography

andre-ker1.jpg Photo by: Andre Kertesz – source

For some time now I have been interested in how both cinema and photography might be compared to mystical experience. I will post separately re cinema.

One point of comparison lies in how the two see the moment.

In the mystical the moment is seen as out of time – a visit to the eternal present.

In photography the moment is given duration, brought frozen into time – up to a theoretical eternal existence.

Of course a major source of inspiration, in both his photography and his writings, is Henri Cartier-Bresson;

cartier-bresson2.jpg

A wonderful retrospective is HERE at Magnum

However in assembling some materials to help articulate a view re photography and the mystical I have discovered some fine materials high amongst which is The Ongoing Moment by Geoff Dyer. Concerning Andre Kertesz, see photo at the top of this post, he says;

What Kertesz sees when he looks out at the street is often this silhouetted representative of his own feelings about being adrift and unappreciated in New York. The people in the streets, heading to shops, are emissaries of his own sadness. That is the lot of the photographer: you walk the streets or sit on a bench – or you look out of the window at people……

Some more wonderful photographs by Andre Kertesz;

TO BE DEVELOPED

andre-old-musician-and-little-boy.jpg

andreker3.jpg

andreker4.jpg

andreker5.jpg

andreker6.jpg

andreker7.jpg

andreker8.jpg

andreker9.jpg

You can hear a fascinating Ā interview with Geoff DyerĀ HERE

Ā 

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All postings to this site relate to the central model in the PhD. Summaries are HERE

Quotations by Tolstoy on ‘What is Art?’

tolstoy-and-child.jpgSource

Professor Julie Van Camp placed a large number of quotations by Tolstoy from his What is Art? The first few are presented below. A number of them centre on the relationship between artist, art and ‘receiver’ of the art.

In a previous posting I suggested as a useful definition;

Art is culturally, and personally, significant meaning, skilfully encoded in an affecting, sensuous medium.
(After a definition by Richard Anderson quoted in Freeland (2001 p. 77))

Adding the ‘and personally’ phrase is vital because there is a vital distinction between the cultural and the personal in an aesthetic experience.

Professor Van Camp includes a list of questions for discussion but I’m wondering if another way of approaching Tolstoy’s thought is to bring into focus the view he appears to have of what it is to be human. Of course many of the implications of what Tolstoy says are what has preoccupied writers about art over the last century but on this site I am suggesting a neo-humanistic form – and such documents as this by Tolstoy can help in such a project.

I don’t have the time to do this at present but I have included some questions, and underlined some of what seem to me to be the key words/phrases in the first few excerpts – to indicate an approach to discovering how Tolstoy was answering the question, “What is it to be fully and positively human?” – in the context of his thinking about the aesthetic.

CHAPTER FIVE (excerpts). . .

#1. In order correctly to define art, it is necessary, first of all, to cease to consider it as a means to pleasure and to consider it as one of the conditions of human life. Viewing it in this way we cannot fail to observe that art is one of the means of intercourse between man and man. (RP Isn’t it pleasurable as well as being intrinsically human?)

#2. Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced, or is producing, the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression. (RP Does it? If so what kind of relationship? Is it different now?)

#3. Speech, transmitting the thoughts and experiences of men, serves as a means of union among them, and art acts in a similar manner. The peculiarity of this latter means of intercourse, distinguishing it from intercourse by means of words, consists in this, that whereas by words a man transmits his thoughts to another, by means of art he transmits his feelings. (RP Doesn’t art deal in ideas as well? Isn’t speech intimately connected with feelings? Is the issue more to do with differences in the respective modes and how they govern perception?)

#4. The activity of art is based on the fact that a man, receiving through his sense of hearing or sight another man’s expression of feeling, is capable of experiencing the emotion which moved the man who expressed it. To take the simplest example; one man laughs, and another who hears becomes merry; or a man weeps, and another who hears feels sorrow. A man is excited or irritated, and another man seeing him comes to a similar state of mind. By his movements or by the sounds of his voice, a man expresses courage and determination or sadness and calmness, and this state of mind passes on to others. A man suffers, expressing his sufferings by groans and spasms, and this suffering transmits itself to other people; a man expresses his feeling of admiration, devotion, fear, respect, or love to certain objects, persons, or phenomena, and others are infected by the same feelings of admiration, devotion, fear, respect, or love to the same objects, persons, and phenomena. (RP Is the accurate ‘re-producibility’ of emotion really a fully satisfactory explanation – when we consider for example contemporary fine art? However empathy and compassion are surely the basis of much movement in art – aren’t they?)

#5. And it is upon this capacity of man to receive another man’s expression of feeling and experience those feelings himself, that the activity of art is based. (RP Tolstoy seems to assume that we ‘receive’ rather like hearing a radio broadcast. Doesn’t this down-play too much the nature of subjectivity and personal history?)

#6. If a man infects another or others directly, immediately, by his appearance or by the sounds he gives vent to at the very time he experiences the feeling; if he causes another man to yawn when he himself cannot help yawning, or to laugh or cry when he himself is obliged to laugh or cry, or to suffer when he himself is suffering – that does not amount to art. (RP So is the difference that art requires symbolic conventions as well as empathy and compassion?)

#7. Art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications. To take the simplest example: a boy, having experienced, let us say, fear on encountering a wolf, relates that encounter; and, in order to evoke in others the feeling he has experienced, describes himself, his condition before the encounter, the surroundings, the woods, his own lightheartedness, and then the wolf’s appearance, its movements, the distance between himself and the wolf, etc. All this, if only the boy, when telling the story, again experiences the feelings he had lived through and infects the hearers and compels them to feel what the narrator had experienced is art. If even the boy had not seen a wolf but had frequently been afraid of one, and if, wishing to evoke in others the fear he had felt, he invented an encounter with a wolf and recounted it so as to make his hearers share the feelings he experienced when he feared the world, that also would be art. And just in the same way it is art if a man, having experienced either the fear of suffering or the attraction of enjoyment (whether in reality or in imagination) expresses these feelings on canvas or in marble so that others are infected by them. And it is also art if a man feels or imagines to himself feelings of delight, gladness, sorrow, despair, courage, or despondency and the transition from one to another of these feelings, and expresses these feelings by sounds so that the hearers are infected by them and experience them as they were experienced by the composer. (RP Are the external indications’ conventions including symbolic conventions? Does art sometimes work as directly as immediate compassion and empathy in real life?)

Copyright Julie C Van Camp 1997

To see the whole list go HERE.

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All postings to this site relate to the central model in the PhD. Summaries are HERE

40 Meditation Practices – the Chris Corrigan collection

buddha.jpgSource Wiki on Meditation

A certain Chris Corrigan has assembled 40 meditation practices (a few links need re-newing)

 

 

Forty meditation practices

 

40 meditation practices in 4 positions

Walking Meditation

Standing Meditation

Sitting meditation

Lying meditation

Be sure to visit Chris Corrigan’s amazing collection of stuff HERE

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All postings to this site relate to the central model in the PhD. Summaries are HERE

What is art? – definitions

tate_modern_london_2001_07.jpgSource

What is art?

One definition that works for me is;

Art is culturally significant meaning, skilfully encoded in an affecting, sensuous medium.

Richard Anderson quoted in Freeland (2001 p. 77)

I would make one change;

Art is culturally, and personally, significant meaning, skilfully encoded in an affecting, sensuous medium.

There is a whole range of art that I know has cultural meaning but for it to enable an aesthetic experience in me it has also to have personal as well as cultural meaning.

TASKS:Lesson questions

How far, and in what ways, has art , through the dominance of conceptual art, replaced philosophy?

How far, and in what ways, has art replaced religion?

More resources

Extensive quotations from Tolstoy at Professor Julie van Camp’s site are HERE

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All postings to this site relate to the central model in the PhD. Summaries are HERE

Story and Personal Myth in making our selves, and our education, whole

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My personal myth Island, Shoreline and Ocean ā€“

a view of story in Personal Development and in Holistic Education

Introduction:

By way of an introduction here are a few succinct thoughts. Skip this if you want to go straight to my ‘personal myth’;

Myth operates in us – its part of being human – like philosophizing. Therefore we should make the most of it – in terms of the mythology we make, and that with which we choose to identify.

Story is central to our meaning-making and how we (choose) to make sense of the world and give account of our encounters and experiences.

Myth, as opposed to story generally, is about our deepest concerns and is characterized as narrative that gives account of the unknown and unknowable as well as some of the known. E.g. we die but we don’t know what, if anything, happens after that. Myth creates and is derived from beliefs.

Myth intrapersonally is the clothing we give to the psycho-spiritual dynamics of inner experience.

Myth interpersonally is the stories we tell each other to explain encounters with the (mainly) unknown and unknowable.

Karen Armstrong’s A Short History of Myth is a must because it makes clear the relationship between myth and religion and world-views.

“Without myth, cult, ritual and ethical living, a sense of the sacred dies,” says Armstrong. Without the discipline of mythical thinking and practice, it was difficult for many to avoid despair. The dark epiphanies of the 20th century can be blamed on “the absence of a viable mythology” that could help us face the unspeakable. Guardian review by Tim Radford

A personal myth operates in us whether we choose to articulate it or not. It is closely allied to what one psychologist called ‘our personal script’ and the another (Kelly) called our set of ‘personal constructs’.

We can help in healing ourselves by articulating our personal myth in comparison and contrast to the group myths around us – or that exist as historical artifacts.

Restorying, (e.g.by writing different versions of) our personal myth can enable us to re-frame our personal experience and gain degrees of control and depths of energy that previously were denied us through locked-up pain.

Creating a personal myth can facilitate better self-understanding and there is potentially a powerful tool for teaching and learning.

My personal myth is here;

The ‘Island, Shoreline and Ocean’ personal Myth

The personal myth that follows was written as a ā€˜one-pageā€™ way of expressing a) a sense of the relationship with the cosmos, the Whole, and b) of a range of the ideas in, and behind, SunWALK. Jane is part of me, perhaps the same Jane as in Janeā€™s Short Story in Chapter 1.

The personal myth is an attempt at re-storying one kind of knowing. A felt need to undertake a re-storying of knowing can lie in acknowledgement of the fact that we know, and need to know, and need to express that knowing, in more ways than the empirical-reasoning mode ā€“ hence Island, Shoreline, Ocean. To admit other ways of knowing, is to admit that in our wholeness we are more than our senses and our reasoning. It is also to admit that in our knowing we are surrounded by mystery, which we encounter. We in various ways give accounts of those encounters.

3:3 Island, Shoreline and Ocean

a personal myth concerning the nature of mystical experience & its relationship to consciousness, & to knowledge creation ā€“ as such it is an attempt to include as much as possible of what I learned during the eleven year journey of the thesis – in a ā€˜one pageā€™ story

The sun always woke her. Every day Jane walked through her garden, inspecting this plant and that, analysing what needed to be done. The quest was never-ending. Sometimes she sat a while on an old tree stump in order to consider the tasks and challenges, trying to work out the feelings and puzzles of what didnā€™t seem quite right, what didnā€™t feel quite right. What she couldnā€™t physically arrange she sometimes tried to paint or write ā€“ she had an imaginary garden as well as a real one. Sometimes she looked at her neighboursā€™ gardens, wondering if that would give her inspiration, but she was always left with the feeling that her most important answers came from elsewhere.

Every day beneath the practical considerations she felt a longing. Having made her review of her garden Jane walked over the fields, across the two streams that eventually made their way down to the sea, and along the cliff, and down to the shoreline. At the shoreline she breathed in her sense of the infinity of the ocean, along with the ozone-heavy, sea-weedy, sea air.
Frequently she imagined the islandā€™s shoreline around the islandā€™s circumference. In her mindā€™s eye she saw each place being shaped in some different way by the ocean – which was sometimes gentle, and was sometimes awesome in its relentless might. Sometimes the feelings that filled her were so powerful that she was overcome. Sometimes the beauty of being in the presence of the ocean was so great that she felt that neither garden nor painting nor poetry would ever fully satisfy the deepest longing.

Often after such reverie she slipped into the sea.

The sea had so much salt that she just floated. And, when the temperature was right, in floating, eyes closed, she lost all sense of where she ended and where the surrounding sea began. There was no separate sea, no separate self – it was just ā€¦.. being. It was always that way, just being. At such times she felt both full and empty, both powerless and at that same time she felt herself to be the very ocean that insistently carved and re-carved the island shoreline.

Mostly at that point she just wanted to stay, to be just part of this place between land and sea, like a driftwood sculpture, ocean-polished, that had been thrown up after a long journey from some river bank, high up some vaguely-remembered river. The shoreline was exquisitely the best of places. But she always took that first step. A first step on the walk back to her garden. And with the walking the experience that was ineffable started to give up insights and possibilities to both refine the garden, and to extend it into some more of the islandā€™s familiar, wilderness, space.

In the evenings she and her friends sat beneath the moon, in whichever was the most interesting of their gardens, at that particular time, and they discussed the issues that concerned them. They all, more or less, had similar such deep experiences as Jane. The ongoing conversation was what united them, along with their respect for how they clothed so differently, in imagination and form, the experiences that were ineffable.
C. from an unpublished doctoral thesis by Roger Prentice, Northumberland ver July 2003

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Karen Armstrong’s book A Short History of Myth is HERE NB Read the Customer Reviews which are excellent and ignore the Editorial Reviews which are carping, mean-spirited and self-serving!

Relevant book that looks interesting Restorying Our Lives: Personal Growth Through Autobiographical Reflection HERE

Island map SOURCE

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All postings to this site relate to the central model in the PhD. Summaries are HERE

Texts and Contexts and the Ultimate context – post-modernism and dinosaurs

jigsaw-green.jpg

All postings, and pages, for this site are seen as texts as in ‘particulars’ or parts. But each post or page is as I will later point out in relation to an ‘ultimate’ context.

The parts or particulars are as in Wilber;

“To understand the whole it is necessary to understand the parts. To understand the parts, it is necessary to understand the whole. Such is the circle of understanding.

We move from part to whole and back again, and in that dance of comprehension, in that amazing circle of understanding we come alive to meaning, to value, and to vision: the very circle of understanding guides our way, weaving together the pieces, healing the fractures, mending the torn and fractured fragments, lighting the way ahead – this extraordinary movement from part to whole and back again, with healing the hallmark of every step, and grace the tender reward.” Eye of Spirit; an integral vision for a world gone slightly mad by Ken Wilber (1997) pub. Shambhala p.1.

Handling more and more challenging texts is one way to think of progress in education.

One aspect of post-modernism is the attention paid to con-texts. Literally con-text = what (meaning) comes with the text. A whole bunch of questions then become vital for examining the the text in one or more contexts. For example who wrote it or made it and for whom – and why, with what reward, what pressures etc.

One key variable then for the teacher is how s/he emphasizes (or de-emphasizes) contexts as s/he conducts discourse with the class.

I always felt that historical contexts were less important than how a text helps us right now- the group – in informing our selves more deeply concerning, ‘What it is to be positively and fully human’.

One source of novelty in post-modernist art is to re-contextualize objects – literally to give them a new framework. A friend got her first-class honours degree for – amongst other pieces of work – taking a reproduction of an old master and tucking under the arm of a central figure a baby dinosaur.

The most memorable teaching of my life was with a group 12-13 year olds when discussing the shortest story in the world, “When I woke up the dinosaur was still there.” All the drive and creativity was in construction of possible contexts as well as discussing whether or not it constitute a ‘story’ in any meaningful way. In due course I will post sections of the video of the ‘story lesson’.

Schools and teachers should provide experiences that help with developing a sense of the Whole and not just the ‘hell of relativity’ when the world is presented as just endless bits.

The ultimate context that we are all in, in reading all of the texts that come our way, is one of mystery, of not knowing. When we accept that we can enjoy both the concepts of separation and duality and the amazement of laying down the burden of self in an experience of unity- as in Heschel’s;

ā€œThe world presents itself in two ways to me. The world as a thing I own, the world as a mystery I face. What I own is a trifle, what I face is sublime. I am careful not to waste what I own; I must learn not to miss what I face. We manipulate what is available on the surface of the world; we must also stand in awe before the mystery of the world. We objectify Being but we also are present at Being in wonder, in radical amazement.ā€ A. J Heschel

Peter Ustinov makes the point in a different way; “We are united by our doubts and divided by our convictions.”

Our encounters with the Whole are part of the personal story (history or her-story) that we make up to explain the cosmos. We should all write our ‘personal myth’ at some stage. As an example I will post mine separately.

In the light of the above comments I have added this to the front page of the site;

CONTEXTUAL QUESTIONS AND ANSWERS


3 Questions and suggested answers that provide the context for all posts and pages on these sites

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Q 1) ā€œWhat is it to be positively & fully human?ā€ = the most important of all questions. My answers are in 2 and 3 below.

 

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Q 2) ā€œWhat is it to function holistically?ā€ My answer =

 

ā€œTo proceed in all particulars with a sense of the whole.ā€

 

Two quotations that are key to understanding. Firstly Jungā€™s,

 

ā€œThe utterances of the heartā€” unlike those of the discriminating intellectā€” always relate to the whole.ā€

 

Secondly Heschelā€™s;

 

ā€œConcepts are delicious snacks with which we try to alleviate our amazement.ā€

 

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Q 3) How in one sentence does my PhD answer the question, ā€œHow should we educate to create a paradigm shift in education?ā€

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The SunWALK model of spiritualizing (or humanizing) pedagogy sees human education as:

 

the storied development of meaning, which is

constructed, and de-constructed,

physically, mentally and spiritually, through

Wise & Willing Action, via

Loving and Knowing ā€“ developed in

Community, through the

ā€˜Dialectical Spiritualizationā€™ of

Caring, Creativity & Criticality processes, all undertaken in the light of the

ā€˜Sunā€™ of chosen higher-order values and beliefs, using

best available, appropriate content.

 

NB Please see these 3 questions, and suggested answers, as the context for all postings and pages on these sites.

sunwalk-logo.jpg

The diagram that pulls everything together

Summaries of SunWALK model are HERE

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The ‘Rules for being Human’, Perennial Philosophy and Universalism

life-rules-fist-and-rosedsarose.jpg

These ‘Life-Rules’ by Cherie Carter-Scott, from her book If Life is a Game, These are the Rules are becoming well-known and they seem to me to be are interesting in relation to a holistic perspective, and to the ideas of Perennial Philosophy and a mystical world-view.

When you were born, you didn’t come with an owner’s manual; these guidelines make life work better.

1. You will receive a body. You may like it or hate it, but it’s the only thing you are sure to keep for the rest of your life.

2. You will learn lessons. You are enrolled in a full-time informal school called “Life on Planet Earth”. Every person or incident is the Universal Teacher.

3. There are no mistakes, only lessons. Growth is a process of experimentation. “Failures” are as much a part of the process as “success.”

4. A lesson is repeated until learned. It is presented to you in various forms until you learn it — then you can go on to the next lesson.

5. If you don’t learn easy lessons, they get harder. External problems are a precise reflection of your internal state. When you clear inner obstructions, your outside world changes. Pain is how the universe gets your attention.

6. You will know you’ve learned a lesson when your actions change. Wisdom is practice. A little of something is better than a lot of nothing.

7. “There” is no better than “here”. When your “there” becomes a “here” you will simply obtain another “there” that again looks better than “here.”

8. Others are only mirrors of you. You cannot love or hate something about another unless it reflects something you love or hate in yourself.

9. Your life is up to you. Life provides the canvas; you do the painting. Take charge of your life — or someone else will.

10. You always get what you want. Your subconscious rightfully determines what energies, experiences, and people you attract — therefore, the only foolproof way to know what you want is to see what you have. There are no victims, only students.

11. There is no right or wrong, but there are consequences. Moralizing doesn’t help. Judgments only hold the patterns in place. Just do your best.

12. Your answers lie inside you. Children need guidance from others; as we mature, we trust our hearts, where the Laws of Spirit are written. You know more than you have heard or read or been told. All you need to do is to look, listen, and trust.

13. You will forget all this.

14. You can remember any time you wish.

(From the book “If Life is a Game, These are the Rules” by Cherie Carter-Scott)

TASK:/LESSON

1 Take a look at Perennial Philosophy and the Golden Rule and compare and contrast them to Carter-Scott’s ‘Rules’.

2 Re-write these according to your beliefs and world-view.

3 Find out what Cherie Carter-Scott meant by reading her book.

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All postings to this site relate to the central model in the PhD. Summaries are HERE

The Golden Rule as one aspect of the world-view shared by most holistic educators

rule.jpg

The Golden Rule

Two aspects of the world-view shared by most holistic educators are Perennial Philosophy (see separate post) and the Golden Rule.

 

 

One measure of the challenge facing us is in the following. In looking for short definitions that might be useful I was struck by the fact that several (many?) Western encyclopedias actually refer to the Golden Rule as a Christian doctrine! Ethnocentricity rules! The point is also well pinned down in an interesting article from Arab News by Iman Kurdi

Below are some of the most interesting sites that present and explore the Golden Rule along with some suggestions for lessons and all ages.

 

http://www.jcu.edu/philosophy/gensler/goldrule.htm

http://www.goldenruleradical.org/

Home

 

SOME SUGGESTIONS FOR LESSONS/Discussion

1 In what sense is the Golden Rule the same as or different to acting justly?

2 Collect some examples, via interviews, of where the Golden Rule was applied with good effect?

3 Choose several of the problems that exist in the world and see how far you can a) analyze the problem and b) obtain inspiration for steps toward a solution.

poster.gifSource – for your poster Golden Rule info and much more

 

A TOUCH OF IRONY: The Wiki entry on the Golden Rule currently shows the price of democracy in that it is hung up in disputes! Re-named as the Ethic of Reciprocity – has it been hijacked or up-lifted by philosophers! I’m sure it will settle eventually – in the mean time there is a lot of good stuff alread on the site – including additional sources.

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NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

 

 

 

 

PERENNIAL PHILOSOPHY – TWO VIEWS A) BY KEN WILBER AND B) BY DEB PLATT

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Even a cursory glance at the ideological and physical conflicts of today will indicate the desperate need for understanding that enables a ‘clearing in the forest’ of beliefs – one that will enable harmony in diversity.

.

On this site I argue that the deepest recognition has to lie in our humanity which we hold in common with all others – I am human, you are human, they are human – we all are human. However since religion exists in many and powerful manifestations the most important of all questions is, “In what ways is there a common light at the centre of of all of the great world religions?” The answer is presented in Perennial Philosophy. Perennial Philosophy is not a particularly good title – something like ‘core mystical reality’ or ‘the great chain of being’ are more accurate, albeit much clumsier titles.

In many ways the appeal to recognize sameness in others, harmony in diversity, is also a call to a kind of federalism. That is to say such a recognition will enable the people of the world to hold an allegiance to the whole as well as to the particular – much as most Americans or Germans hold an allegiance to their national government as well as to their state governments.

.

HERE IS HOW KEN WILBER SUMMARIZES THE SEVEN MAJOR POINTS OF THE PERENNIAL PHILOSOPHY, IN HIS BOOK GRACE AND GRIT:

1. Spirit exists.
2. Spirit is found within.
3. Most of us don’t realize this Spirit within, however, because we are living in a world of sin,
separation, and duality–that is, we are living in a fallen or illusory state.
4. There is a way out of this fallen state of sin and illusion, there is a Path to our liberation.
5. If we follow this path to its conclusion, the result is a Rebirth or Enlightenment, a direct experience
of Spirit within, a Supreme Liberation, which–
6 marks the end of sin and suffering, and
which
7 issues in social action of mercy and compassion on behalf of all sentient beings.

.

THIS IS HOW DEB PLATT PRESENTED HER LATE LAMENTED SITE ON WHICH SHE BROUGHT TOGETHER A VAST AND BEAUTIFUL SELECTION OF QUOTATIONS FROM WORLD RELIGIONS

.

If anyone knows what happened to her site please tell me. Her site was a truly great contribution toward religious understanding and its disappearance a great loss. Equally if you managed to copy her site before it was taken down please let me know (onesummit ATgmail.com replace AT with @).

This is the ‘universal’, mystic heart of all of the great wisdom traditions as Deb Platt presented it;

ā€¢ There’s a reality beyond the material world:
ā€¢ Which is uncreated.
ā€¢ It pervades everything,
ā€¢ but remains beyond the reach of human knowledge and understanding.
ā€¢ You approach that reality by:
ā€¢ Distinguishing ego from true self
ā€¢ Understanding the nature of desire
ā€¢ Becoming unattached
ā€¢ Forgetting about preferences
ā€¢ Not working for personal gain
ā€¢ Letting go of thoughts
ā€¢ Redirecting your attention
ā€¢ Being devoted
ā€¢ Being humble
ā€¢ Invoking that reality
ā€¢ Surrendering
ā€¢ That reality approaches you through:
ā€¢ Grace
ā€¢ The teacher
ā€¢ You’re transformed so that you embody that reality by:
ā€¢ Dying and being reborn

Holistic Education doesnā€™t have allegiance to any one religion or philosophy, but Perennial Philosophy is very important for many and is the position of this site. It is motivated by recognition of the essential oneness of the great wisdom traditions

(SEE also Aldous Huxley’s Perennial Philosophy or Chap 2 of Jack Miller’s Educating for Wisdom & Compassion)

Jane’s Short Story; teaching children ‘nowness’ in creative writing and photography

cartier-bresson-child-carrying-painting.jpgSource

In the unpublished doctoral thesis, from which this piece and Janeā€™s Short Story, is largely taken, the range of concerns include ‘the perpetuation in the present of early experience’. I’m interested to discover that one definition of ‘nowness’ is presentness: the quality of being the present; “a study of the pastness of the present and…of the presentness of the past”.

I wrote Jane’s Short Story to see what a Year 7 class (11 ā€“ 12 year olds in the UK) could ā€˜handleā€™, but it has become a major piece for teaching me, as well as for teaching others.

Janeā€™s short story (line numbers are simply to help in discussion)

1 ā€œCome to mummy Jane. Come on, yes, you can do it.ā€ Steā€¦stepppā€¦stagger step..step got there BIGKISSmmmmsā€™nice. Her motherā€™s nose stroked back and forth across her neck, as giggles of delight and laughter bubbled from Jane.
ā€œJane pay attention otherwise youā€™ll be asking me what the work is in five minutes time.ā€
5 (ā€™Oh no I wonā€™t Mr Moaner, I know perfectly well what youā€™re asking – so stop picking on me!ā€™)
ā€œImages Jane, images.ā€
Tulips. Gigantic red tulips, opened a bit beyond their best, and bigger than any red thing and redder than any red thing and she crawled to grasp, to know the greenness of the green cool green stems and embrace them and lose herself in the redness that was ā€¦ā€¦..
10 ā€œI want you all to pay attention to the structure of your storyā€¦ā€¦..ā€
How could she tell her mother that she never felt safe after he left. Only in his hugs with the smell of him did she ever, could she ever, feel safe. She chewed over this and poured herself another bowl of corn-flakes, sensing school time getting nearer and nearer. Her mother had left without giving the bus fare.
Yet again Janeā€™s leg itched from the nylon thread in the seam of her skirt.
15 She grasped the chair to ease her leg away from the itch, only to put her fingers under her chair and into some freshly placed chewing-gum. ā€œUgh! Boys are so disgusting!ā€
ā€œThank you Jane. Iā€™m not sure what that has to do with careful control of your narrative but I suppose we should be grateful that at least youā€™ve re-visited our world, even though the visit will no doubt be brief. The trouble with you Jane is that you donā€™t use the possibilities and talent you have.ā€
20 Endless possibilities. The muddy brown wet sand, miles and miles of it. She sensed freedoms beyond the edge of her imagination, she would be all creation itself.
ā€œPut your hat on Jane and come here – youā€™re not going in the sun until I put some cream on you.ā€ Jane submitted to the sun-cream and enjoyed it but also remembered the tug of the harness around her shoulders – tug tug, with her running but not going anywhere.
25 ā€œā€¦ā€¦and do try to put some images into your writing – do make it come alive.ā€
The finch, with feathers going in directions they shouldnā€™t, struggled on its side. The broken leg would not need mending because the shock was already killing the tiny creature. Jane hated the cat with an acid and granite hatred.
ā€œYou have ten minutes to finish your story.ā€
30 Jane sat back on her rump and examined her motherā€™s radiant face.
She spat out the tulip petals as her sadness entered her.
She was as rigid as the door he had slammed behind him.
She willed the incoming tide to consume her castle and leave only empty sands.
The finch stopped its fluttering and took on the stillness of death.
35 Jane wrote some lines.
Jane felt the tug tug of the harness and struggled to go somewhere.

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Jane is, substantially, but not wholly, me.Ā  It was an attempt to make the feminine side of my soul ‘walk and talk’

In writing the story I reached back down to early memories with which to ā€˜clotheā€™ some of the levels in the streams of consciousness.

In continuing to work with children, or adults, I still sometimes use Janeā€™s Short Story ā€“ as a way to encourage others to create their own stories, made from their own real, and imagined, experience. I discovered how powerful it is if PFC (Philosophy for Children), and creative task-setting, are combined/interwoven ā€“ so much so that I believe that the two, when harnessed, together create something akin to ā€˜exponential developmentā€™ i.e the most powerful form of transformative learning. It is still a joy, and a learning experience, when children make their own creations walk and talk, sing and shout, just as Jane became ā€˜realā€™ to me, some 9 or 10 years earlier. From time to time I revisit the story and change a few words. Once I also gave it to the same class on succeeding years and asked them to see what they could see compared to their ā€˜readingā€™ of the previous year – and to say what differences they felt between the two readings. On the success of this I think that it is worth doing something similar with every class, i.e. for them to re-visit a piece two years running. What they are looking at, with each re-visiting, is, in part, the growth they have had via another yearā€™s experience – a very useful exercise in meta-cognition for the children.

Although it was written when I was in my early fifties I include the story here because it encapsulates some of how autobiography is expressed in even the most creative, or the most abstract, of our work. The story was written in a ā€˜stream of consciousnessā€™ style to see how well my classes could be at deconstructing the text. It was written in my second year of doing PFC. Sometimes I use it just as a text, sometimes the classes go on to write their own episodes from Janeā€™s life.

My experience is that children in Year 7 or 8 take a little time to decode the levels in the ā€˜stream of consciousnessā€™ but then respond most sensitively to the possibilities that exist in and around the story. It seems to work at quite a deep level for some, and very few, except perhaps in initial perplexity, reject the story. It also helps to teach them that story, in its different kinds of truth, can combine re-collected personal experience and meld it with imaginative material. It can be a minor revelation for children who see ‘story is story’ and ‘real life = the truth.

Jane, both as part of my spirit and personal history, and as an independent spirit, has continued to exist, but she has also been transmogrified into the creations of other authors, adults as well as children. It is Jane in the personal myth called Island Shoreline Ocean, presented at the beginning of Chapter 3. My (our) past is re-presented and it is continuously transmogrified, in further re-representations. Each of us re-experiences what we are, as we engage or re-engage, with our beliefs, values, attitudes memories and new experiences. We echo past experiences in each new experience, even when we are seeking to help others in their creativity. Janeā€™s short story lives on in me as a crystallization of the feelings and images deep in my soul, deep, one might say, in my ā€˜presentā€™. It has generated versions from 11 ā€“ 12 year olds, but also from an 84 year old man who, on one of my courses, wrote the first story he had ever written in his life. (He was pleased and amazed; I was deeply moved by his openness and courage!)

TASK/SUGGESTED LESSONS: It would be fascinating to combine the ideas above with photography!

Great photography blog HERE