Burying my lead I will move on to pattern.
This lesson uses a heraclitan style.
is a useful visual metaphor, a way of mapping.
Many hands stitch many stories
building one many-mooded, multi-hued tale of grief and hope and life ongoing.
How widened is my gaze, scoping it out?
Am I set by my nature to go for the gestalt
or start staring at the cells just under-
Quick behind the looking comes the seeing.
You can only see what you are looking for.
Once an embryo paleontologist went out on her first hunt in a field her leader told her was full of fish. All the team scooping them up, right and left while she found nary a one. Next day she did—just one. Day following she netted two. Soon she could no longer not see them. Her looking laid the pattern of the fish aswim in the ground under her feet.
Come scale down the scope of the quilt,
each square telling a private tale
many stories of grief and hope
and life ongoing.
Find the fine stitching.
The movement in the threads reveals his his signature
in the phase beyond is bound her DNA.
COMMUNITY QUILT TAKE 2
I’m visualizing a quilt, one of those quilts constructed by a community
for a purpose
commemorating imagining and building together
Most of you have seen such a quilt,
many of you have put your handiwork into one or more.
Some lucky few may be looking now at that one on the wall
owned on loan.
If you look wide-eyed you see the gestalt, the big picture.
Narrowing down the gaze you are
looking at the individual cells,
out of which the body of the quilt was built,
we see each cell a story in itself.
In literature, this could be called a frame tale,
also a popular format for a television series,
each episode a complete story in itself and
fitting into an overarching plotline.
Finer tune your scope and find
the fine threads tying the parts into one.
His signature is found in the movement of the line
her DNA embedded in the finest fiber of thread.
Shift your gaze back and forth from the largest whole of it
(including context if you can manage)
to the minute detail and stages in-between.
At which phase do you feel most stable, most secure,
where are you at the whim of a wind?
Where are you the most comfortable and is that the same as stable?
Now take the inner image of your body
remember the feeling of your body as you imagine
overlaying it onto the quilt.
Your body is the quilt with all those little cells contained
shift your gaze and feel your body as one of many cells
comprising a bigger body.
OF THE BASE
Two poles, plus and minus.
To repair and strengthen the base
attention must be paid more toward minus.
In other words, learn to let go.
Basic physiology lesson: Reciprocal Innervation goes way back to Descartes 1626. There is the agonist muscle and the antagonist. Muscles work in pairs (remember how movement is bidirectional). Striated muscle
(three types of muscle: striated, smooth, and cardiac), which are the muscles that make you move, mostly work across joints. Muscles on one side contract. Place a hand on a table or on your leg, palm down (prone). Now lift your forefinger. Muscles along the top of your hand contract. Never mind their names. Extensor muscles in general. For the finger to lift it is necessary that the ones on the bottom, the flexors, don't contract. Otherwise, they would be fighting and that's called tetanic contraction.
When lifting (or pushing or pulling) how much weight will move just by letting go.
Start with little weight, maybe only an empty hand.
On balance more bend more toward the pole of letting go. Give that your attention. Even when lifting pushing pulling weight find all the work you can let go of. Check your face a lot. Grimacing is unnecessary work. Let go of your face.
These are all some things to play with.
Let go all at once or super slow glide down
pausing here and there along the way
allowing reparation and sharing up along the ranks
Bouncing softly up and overall enough more down to take you to
Turn the quivering into dancing
A body-image is in some ways always the sum of the body-images of the community according to the various relations in the community. Relations to the body-images of others are determined by the factor of nearness and farness and by the factor of emotional nearness and farness.
HANGING OUT IN TRANSITION ZONES
A contranym is a word that means both itself and its opposite. Cleave is one example of a contranym. I can be used to mean 'stick to' or it can mean 'separate from. There is something contranmic in the nature of mucus, which acts as a glue (and in the case of mucilage is a glue) and lubricant.
The vision is for Ongoingness; Life continuing on . . . .
Richard Valasek 1501 Kuloko St Pearl City HI 96782
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and, if I do not save it, I do not save myself. —JOSÉ ORTEGA Y GASSET
Whatever affects one directly affects all indirectly. For some strange reason I can never be what I ought to be until you are what you ought to be. And you can never be what you ought to be until I am what I ought to be––this is the interrelated structure of reality.
—MARTIN LUTHER KING, JR.
Now, more than ever . . . our place in the universe and the place of the universe in us, is proving to be one of active relationship. That is more than a scientist’s credo. The separateness of our lives is a sham. Physics, mathematics, music, painting, my politics, my love for you, my work, the star-dust of my body, the spirit that impels it, clocks diurnal, time perpetual, the roll, rough, tender, swamping, liberating, breathing, moving, thinking nature, human nature and the cosmos are patterned together. —JEANETTE WINTERSON, Gut Symmetries
What you do, what you become, is not my concern. –ROBERT MCCALL