“The acceptable and the unacceptable are both acceptable, for this reason there is nothing that is unacceptable.”
Wen-Tzu: Understanding the Mysteries, Further Teachings of Lao-Tzu
There are 89 posts tagged perception (this is page 2 of 5).
“The acceptable and the unacceptable are both acceptable, for this reason there is nothing that is unacceptable.”
Wen-Tzu: Understanding the Mysteries, Further Teachings of Lao-Tzu
“Listening is to convey wisdom, to foster action, and to bring achievement and honor, If it is not sincere, it is not clear, not deep, not effective, so the highlest learning involves listening with the spirit, middling learning involves listening with the mind, lower learning involves listening with the ear.
The learning of those who listen with their ears is in the surface of their skin. The learning of those who listen with their minds is in their flesh and muscles. The learning of those who listen with their spirits is in their bones and marrow.
So when you do not listen deeply to something, you do not know it clearly; when you do not know it clearly, then you cannot plumb its essence, and when you cannot plumb its essence you cannon perfect its practice.
The general principles for listening are to empty the mind so that it is clear and calm: discount moods and don’t be full of them, have no thoughts and no rumination. Let the eyes not look at random, let the ears not listen at random. Concentrate the vitality of the mind so that it builds up and the inner attention is fully consolidated. Once you have attained this, you must stabilize and preserve it, and must extend and perpetuate it.”
Wen-Tzu: Understanding the Mysteries, Further Teachings of Lao-Tzu
“The ears of someone whose eyes are examining the tip of a fine hair do not hear a peal of thunder, the eyes of someone whose ears are tuning a musical instrument do not see an enormous mountain. Thus when there is a fixation of attention on small things, then there is forgetfulness of great things.”
Wen-Tzu: Understanding the Mysteries, Further Teachings of Lao-Tzu
«Cuanto más se medita, mayor es la capacidad de percepción y más fina la sensibilidad (…) El oído se afina hasta límites insospechados, y empiezas a escuchar —y en esto no hay ni un gramo de poesía— el verdadero sonido del mundo».
Biografía del silencio, Pablo d’Ors.
«Imagina el mundo que por las formas y los colores, por los nombres y sonidos, es posible conocer la realidad de las cosas. Pero la verdad es que por las formas y colores, por los nombres y sonidos, no es posible conocer la realidad de las cosas, y por eso el que sabe no habla, y el que habla es que no sabe».
Zuang Zi: «Maestro Chuang Tsé», Kairós.
«Quien gusta demasiado del oído, acaba alborotando los cinco tonos y confundiendo las seis armonías; ensordece ante tanto sonido de metal, piedra, seda, bambú, y música huangzhong y dalü».
Zuang Zi: «Maestro Chuang Tsé», Kairós.
«…y no oír con los oídos, sino con la mente; no oír con la mente, sino con la energía vital. El oído se limita a escuchar los sonidos exteriores, la mente a representarse los fenómenos».
Zuang Zi: «Maestro Chuang Tsé», Kairós.
25.000 years to trap a shadow, Will Day.
“The term makyo (魔境 makyō) is a Zen term that means ‘ghost cave’ or ‘devil’s cave.’ … Makyo is essentially synonymous with illusion, but especially in reference to experiences that can occur within meditation practice.
…the combination of ma meaning devil and kyo meaning the objective world. This character for ‘devil’ can also refer to Mara, the Buddhist ‘tempter’ figure; and the character kyo can mean simply region, condition or place. Makyo refers to the hallucinations and perceptual distortions that can arise during the course of meditation … These can occur in the form of visions and perceptual distortions, but they can also be experiences of blank, trance-like absorption states.
…It is characterized in some schools as ‘going to the movies,’ a sign of spiritual intensity but a phenomenon that is considered distinctly inferior to the clear insight of settled practice.”
“I know a person who found that the type of music played in her supermarket made her very sad. The songs reminded her of a difficult time in her life, and she saw herself focusing on the memories and not on her shopping. When she realized this, she made a conscious and intelligent choice to take good care of her consciousness. Now she puts in earplugs every time she goes to the supermarket, in order not to be distracted and depressed by the music.”
Silence: The Power of Quiet in a World Full of Noise, Thich Nhat Hanh.
I’m adding sound to some of my Glifcker animated GIFs. This was the first test. Sounds and images are the same files, I just saved all frames as AIFF.
The process is simple, I save each frame as JPG, then as RAW and finally as AIFF, and then I add the sounds to the video.
The synchronization is perfect because what you see and what you hear is exactly the same.
“Thus Kubelka initiated the flicker film, what Regina Cornwell has described ‘phenomenologically as the short and very rapid succession of recurrent images which flutter or fluctuate in various structures.’ The effect is abrasive yet revolutionary. [Arnulf] Rainer values the process of cinematic projection and the immediacy of vision over the illusionistic three-dimensional representation of past events; it is a film that appeals not to the psychological or emotional but rather to the neurological and physiological brain, creating optical illusions and even fleeting hallucinations that at once disabuse viewers of the limiting priorities of mainstream cinema while inviting them into new worlds of perception.”
Flashes of Brilliance: A brief history of the flicker film, Michael Joshua Rowin.
“Of this at least I feel assured, that there is no such thing as forgetting possible to the mind; a thousand accidents may and will interpose a veil between our present consciousness and the secret inscriptions on the mind; accidents of the same sort will also rend away this veil; but alike, whether veiled or unveiled, the inscription remains for ever, just as the stars seem to withdraw before the common light of day, whereas in fact we all know that it is the light which is drawn over them as a veil, and that they are waiting to be revealed when the obscuring daylight shall have withdrawn.”
Confessions of an English Opium-Eater, Thomas De Quincey.
«…yo creo que tú no sin gusto escucharías una disertación sobre el sentido del oído, el cual dice Teofrasto que es el más sensible de todos los sentidos. Pues ni la vista ni el gusto ni el tacto producen sobresaltos, perturbaciones y emociones tales como las que se apoderan del alma al sobrevenirle al oído golpes, estrépitos y ruidos. Pues es mucho más racional que sensible. En efecto al mal muchos lugares y partes del cuerpo le permiten, introduciéndose a través de ellos, apoderarse del alma, en cambio para la virtud la única entrada posible son los oídos de los jóvenes…».
Sobre como se debe escuchar (Obras morales y de costumbres), Plutarco.
Standing In the Meeting of Two Eternities propone una experiencia audiovisual inmersiva compuesta a partir de hidrofonías (grabaciones subacuáticas), humo y luz. El espacio desdibujado por la niebla y el color evoca la profundidad del mar, así como la frontera entre lo físico y lo etéreo.
Mikel R. Nieto + Blanca Rego (yo misma)
Martes 14 de enero de 2014, 19 h.
MediaEstruch, Sala multimedia 10.
L’Estruch Fàbrica de Creació,
Sant Isidre 142 Sabadell.
Entrada libre.
“The term scotomization comes from the Greek noun skotos (darkness). In the older literature it is used as a synonym for the term negative hallucination. Both terms are used to denote the failure to perceive an object or stimulus that is present within one’s range of perception. The term scotomization was introduced in or shortly before 1926 by the French psychoanalysts Edouard Pichon (1890-1940) and René Laforgue (1894-1962). In psychoanalytic theory, the term scotomization is used to denote the tendency to ignore, or to be blind to, certain impulses or memories, especially those experienced as a threat to the individual’s ego.”
«Pues bien, por lo que toca a las ideas, si se las considera sólo en sí mismas, sin relación a ninguna otra cosa, no pueden ser llamadas con propiedad falsas; pues imagine yo una cabra o una quimera, tan verdad es que imagino la una como la otra».
Meditación tercera, Descartes.
When a film starts like this, it must be good (Saul Bass, of course). A paranoia, a dystopian history about who we are and who we would like to be. And, like all good science fiction films, with a lot of reflections between the lines.