Dynamic Equilibrium Study and Practice
- <some compositions are Older Versions now having extensive revision>
Discursive Contemplative Art
ISP contemplative templates refer to discursive contemplative art as four vision quests of self/other aspiration and empathy: salient features to an experiential life of the mind. A basic cultivation is of empathy veering from afflictive self-attachment, in nurture of deeper levels of [Lex.] 'equanimity as a generic part of the internal quest': cultivating the qualities of caring attention, compassion, and empathetic joy. Core non-discursive dynamic-equilibrium praxis pertains to 'psychophysical stabilisation' and knowing-awareness itself (guided meditations are documented in chapter 9, including links to original sources). Core non-discursive dynamic-equilibrium practices pertain to 'settling mind in its natural state', as together with body and speech in their natural states. These guidelines are of the mind becoming serviceable in shifts of perspective from afflictive root desire, aversion, and naive indifference. Conscious foundations of the quintessential-art are accessible via such seasoned methods comprising defining introspective mindfulness. Meditative ways and means to the realisation of integral levels of praxis, are encompassed in the foundational aspiration and resolve of caring attentiveness: comprising realities of both first-person and interpersonal conative intelligence (documented further on with three other kinds of intelligence) of complement to exploring deeper-dimensions of consciousness. In experiential knowledge, there is the ability to reliably calm and rid of said mental afflictions: a task is then to meditate! A significance is a phenomenology from which beings can decipher a whole reality of praxis from relative parts of it: a recovery of consciousness in first-person and interpersonal aspects of empirical understanding. This is a broadband of 'lived-experience' (lebenswelt), of conscious evolution, and a basis for the manifold of cognitive science with qualification of that called introspective development: countering faults: Naive-realism to that of Idealism. Global interest-conflicts and attention deficit to problems as reflected in media and CogSci representations, are the referents of defined campaigning on true aspirations for re-building a connected and refreshed positive-news structure (conate functional part of DynEq psychological definition), and as assistant to CogSci's predicaments as problems in psychology, Chomski and MIT have long ecologically considered all ways of the CogSci mess (and more deeply into communication theories) affected by unreliable communal dogmatism and politics. This is elaborated on in Chomskian empirical principles, and those of Open Society theories initialised by Carl Popper, worthy of open and applied global practice in that scientific branch symmetry of interdependent existence. The modalities pertain to deeper insight of heightened awareness, transcending what is phrased as an afflictive realm of desire (desire realm), to an innate form realm related by Neoplatonic working archetypes of applied practice (qualified by psychology): phrased in deep meditative understanding as a parallel form and formless realm, the comprehension of which is hypothesis none abstracted from reality. The generic foundations are to evolved secular understanding, percipient realms of unified equilibrium and qualitative modes of mindfulness, transcending dualistic figurings of subject and object.
<SA7CogSci>The meaningful simplicities of foundational DynEq science are also a consistent rejuvenation of potential to daily normative functioning, conjoining an application of deep relaxation and alertness of mental balance as repose and exercise in symmetry. This includes science of lucid awareness in both dreaming and wakeful mental functioning: a meditative substrate space of awareness. It is aptly glossed as analogous to a 'stage' or theatre of the mind (elaborated on in the guided-meditation chapter). Thus, among primary aspects to a 'SciOfConsc', is an expanse of openness and sensitivity with respect to dispelling the internal root causes of disequilibrium, and its afflictions. Conducive to that are pragmatic vocational templates of foundational CogSci culture, art-iculating communal pathways of exceptional physical and mental balance (expressions of a Middle-Way). These do not ignore conventional external reality, including the allusion that people are what that have and see as dependent on external stimuli, that conflicts with a sane equilibrium of external reality.
The modes of percipience are of astute contemporary exercise regarding alleviation of emotional distortion and imbalance: through application of defining/integrated cross-disciplinary science from perspectives of radical empiricism (Jamesian insight): by way of up-to-date demystified expressions consistent to secular-ethical understanding: a vital world of first-person experience without connotation of alienated separate selves, self-defined by external stimulus and distorted self-image. This is indicative of the sub-normal OCDD disorder (the Wallace Syndrome: excessive compulsive delusional disorder), obscuring of the mind's integral functioning and salient characteristics of meaningful clarity. It is a psychological complex of inadequacy and dis-clarity as countered by gradient modalities of mental balance, as vital transformation into a declared anthropocene epoch/age (e.g. circa Wallace, and also in the 2016 proceedings of the 35th International Geological Congress: SA). Such realities and possibilities are interdisciplinary projects in the assimilation of wisdom and human flourishing, illuminating a unification of deeper wisdom in relation to its exceptional mental balance: a reality beyond indifference, attachment and aversion: part of first-person cultural foundations of universal 'edu-tainment' in the celebration of introspective mindful awareness.<Nov2016-JlyDec2017
- SciCVN Project Philosophy : Evolution of world music & lyric, modular parallels in the art of flamenco & further afield
Homage to Maestro Paco de Lucia
The part below expresses archetypes of communally developmental discipline with regard to European and related culture. Flamenco is known as one of the Masterpieces of the Oral and Intangible Heritage of Humanity, as declared by Unesco 2010.  An original central-European initiative was pertinent to evolution of this art, with nuanced extension by classically developed knowledge. Classical instruments like the lute that became the guitar, were better made-instruments and there was industrial cooperation. In terms of the voice being a principle instrument, medieval prayer chants also merged in these soulful spirits. The central art-form at present has been taken to new heights of its development by the caring efforts of Paco de Lucia, as contributive to world-music, and a meditative nature of psychophysical dance. The earliest representative influences where via seafaring to and from Spain, where Moorish, Muslim, Jewish and Romani Gypsy people merged in Andalusia. In order that diverse forms of flamenco would grow, there was a synthesis of expertise from so many cultures: Phoenician, Greek, Roman, Egyptian, Byzantine, and Indic. It thus as well became another discipline related to potentially expressing foundations of mindfulness.
The paradigms of art and musical science in the flamenco music tradition, relate to expressions of healing and balancing equilibrium among various archetypes of awareness, as emotionally deeper states of awareness toward an evolving worldview. Each of its twelve or so main movements or airs signify the balance of entire ranges of feelings and emotion, and some of these have been seriously developed in specific regions of Spain (with movements named after them). It is a therapeutic communion, both for solitudes of contemplation, and for celebration of life with others. The very names of movements relate to emotions including the solaries, expressing solitude and also sadness; the allegrias is of positive feeling, cheerfulness, joyfulness, and happiness (of importance). In their adept forms of integration, these can be viewed as instruments for articulating deeper contemplative states relating to internal healing and mental balance. The sympathetic resonances also directly relate to healing negativity, fear, and illness. Thus, they are classed in different categories including the Cante Jondo, representing profound chants and song forms; Cante Grande: the great or majestic chants; and Cante Chico: Petite Songs.
A spirit of emergence from emotional affliction, is a deeper implicit significance of celebration with audiences who provide rhythmic accompaniment; intricate hand clapping and soulful presence; and when the music reaches a climax of dexterity and creativity, an incredulous murmur that is the utterance: Ole! The word does not simply mean well-done! It expresses some kinds of paradigmatic shift of dwende (lit. elf or spirit), the profound meaning of which has a relation to eudaemonia. In the context of meditative-listening, ‘Ole’ is analogous to: transient, anomalous, psychological or psychosomatic experience catalysed by authentic meditation. In advanced understanding, when these arise in the mind, they are let-be without modification, without preference or rejection. With these profound therapeutic meanings, there are also professional livelihoods associated with those built-in comprehensions, then as artistic discipline, this adjusts the factor of faithless or false pride in the art. La dwendes may thus be a cadence, climax, or profound part of balance in adeptness or improvisation reached in the singer, guitarist, or dancer. All this represents participative interaction and communication with the audience, in focus on the attitudinal content articulated as together with artistry and adeptness, and is of celebration with devoted attitude: aficion, by aficionados. One characteristic of such vision-quest is meditative inspiration of aesthetic awareness, devoid of demoralisation through egotism or arrogance. It is a somewhat medically therapeutic exercise. Eudaemonia is caused thus by actualities of such open-minded developmental experience, through dynamic equilibrium of imagination and emotion. In the perspective of meditative vision quest, all these activities express compassion, empathetic joy, and means of equanimity. This music was after all, originally conveyed across deserts by slaves.
In former times as now, the song, cante, improvisation, and performance relate to essential foundations of aptitude and sensitivity: in the lead singers, the very much trained voices of famous academy's, to every other instrument. As with this one, the aspirational 'aural compositions', with due respect, are not platitudes of extemporisation, and intuition in flamenco-ethos is not what aficionados call a love of cliche, or of platitudinal-expectations. The moral is a feature of transcending cliches and gloom of mundane worldly feeling tone, not just with mundane performance though, but sufficing to intimate beyond.
As originally an accompaniment to the voice, the guitar became a skilled solo concert instrument/voice in its own right, comparable and derivable from the nuances of sitar music. The concert stage frequently features the virtuoso soloist as guitarist, but originally, akin to jazz, it was words that were a primary highlight (they have not been well represented by translation to improvisation, apart from classical song forms). The rhythmic clapping very much resembles important percussive expression in Indian music and culture, from which flamenco had origin. The prodigy of Anushka Shankar includes performance with flamenco-bands and directing orchestras. At their best, the disciplines of dance, voice, and guitar, emulate feats of mastery. Thus loss of ego and selfless devotion are also important factors, being a reason why the audience are called aficionados. It is not just music for musics sake, rather it reflects innermost discipline of music, and art of expression accompanying it, to imbue transpersonal life with sentient meaning.
As creativity in natural healing, the words in songs have their own inspirational and improvisational narrative modes, as also do the instruments of the cante, representing salutary embodiments of exegesis and assimilation: profound words akin to chants of prayers to innermost harmony. This would be included in the significance of profound chants.
Collaborating pioneers such as John McLaughlin and Late Maestro Paco de Lucia (poet Laureate of Spain), with half a decade of improvisational intersection through Jazz music, have together helped re-orient [Lex.] quintessential origins of western and eastern music; to express common secular meditative origins from east to west (definitions of classical and modern fusion; e.g., fusion-jazz). Three thousand years is the known retrospective of the Indic-music continuum, within the parameters of some 300 Indic scales, quintessentially borne to the minds of practice as focal point of sitar and tabla. The viola and flute are other solo instruments that well convey meditative overtones and modulations, and are part of natural languages. As a flamenco, from that empathy of attentive factors, pragmatic normal functioning is accentuated, feeding back to transform ones life from the inside. Outwardly, that science is not then a placement of mind into reified frozen artefacts of afflicted self-attachment.
All those forms in music have harmonic and sympathetic qualities, allegories in relevance to soothing expressions of exceptional psychophysical balance: correlating implicit knowledge of meditative principle. Those are profound celebrations toward a deeper harmony and peaceable co-existence.
Homage : Paco de Lucia (1947-2014).
1. URL= https://ich.unesco.org/en/RL/flamenco-00363 In this commemorative podcast, a lot of other normalised societal functions are mentioned of flamenco, such as: a very identity, singing during hard work, marriage rites, exceptional feats of dancing, and the singing that at times includes prayer, sadness and joy all in one.
General Note: Some of the Technical references are sourced from: El Arte de flamenco, United Publisher Lmt., 1988, Juan Martin's music: London.
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