A global guide to LIVING CREATIVELY

Friday, January 25, 2013

Leadership

ARE YOU A CREATIVE LEADER?
John Maeda, President of the Rhode Island School of Design speaks at TED - teaching us of the overlap and cross-fertilization of art, technology and design as related to creative leadership. View Mr. Maeda's TED talk here.

Tuesday, January 8, 2013

Music Magician

PIANIST SOARING
Keith Jarrett
Years ago, a friend asked if I had ever heard the music of Keith Jarrett. I said that I did not know him.
Within the next week, I received a gift - an album, titled, "Keith Jarrett, The Koln Concert". Laying it upon my turntable, I began to hear music like I'd never heard it before - entrancing piano music, winding its way, gently and then wildly, into the space of my small San Francisco apartment. I clearly heard each note, each set of notes - notes upon notes, hand over hand, soaring sounds melding into other sounds. It brought me into a wondrous state. And as I learned, I was listening to the music of an improvisational genius.
On rainy days, when I knew I would be inside, relaxed and solitary, I would listen to Jarrett. As raindrops fell, that enchanting piano music whirled around me and everything felt fine.
In the background, Mr. Jarrett accompanied his piano with sounds of a man possessed - playing for those who listened, playing just for himself.
Many years have passed and, incredulously, I forgot about this brilliant musician.
Today, I found him, once again. He was there all the time. I'd just forgotten and moved on.
From The LA Times, "Jazz review: Keith Jarrett at Walt Disney Concert Hall", March 28, 2012 - Chris Barton:
"...And what a display of music it was. As shown on last year's live double-CD "Rio," Jarrett's rabbit-out-of-the-hat gifts for improvisation are still razor sharp, pulling from an unfathomable musical vocabulary to create something unlike anybody else. Reaching inside his piano to tap out an off-kilter, free rhythm along its wooden skeleton and strings, Jarrett began the show with what felt like a gently dissonant greeting to his instrument. Slowly he gathered the piece into a tumble of notes up and down his keyboard, sneaking up on what coalesced into a quiet, moonlit melody."
If you have never heard about Keith Jarrett, begin your journey with the links, below.

Saturday, January 5, 2013

Santa Fe Clay

THREE AT SANTA FE CLAY
David Eichelberger
Donna Polseno
Sam Taylor
January 25 - March 2, 2013
Opens, January 25, 5 - 7 PM
These three east coast functional artists all focus on simple form and natural illustrative surfaces. They each use different clays and firing techniques, and all find inspiration in the natural world for their motifs. More here...
Left to right: Polseno, Eichelberger, Taylor
545 Camino de la Familia, Santa Fe, NM, 87501
Tel: 505-984-1122 Fax: 505-984-1706
www.santafeclay.com

Friday, January 4, 2013

Abbey Returns

SEASON 3 BEGINS
DOWNTON ABBEY : January 6, 2013
We've waited long enough!
Most all of our recent conversations have been monopolized processing the past two seasons.
What will season 3 bring?
Will there be a marriage?
Will a famous American actress arrive and take her part as a cast member? (see this article)
What will become of each and every one of our favorites?
All our questions will be answered.
Let the new season begin!

Tuesday, January 1, 2013

No Resolutions

NO RESOLUTIONS

My eye is drawn to that blood-red dot. It appears on the cover and binding of Jan Frazier's, "The Freedom of Being at ease with what is". Noting this image each time I pick up the book, I suddenly experience one of Oprah's, "a-ha" moments, as synapses are activated.
This morning, the first of 2013, instead of reading from a list of resolutions (I've never made a list!), I begin reading a paragraph from Ms. Frazier's book and note to memory, these five words: "We are all two selves." The paragraph continues: "There is the self that's able to suffer. Then there's depersonalized awareness. This self has no gender or beliefs, nor is it affected by experience." 
She continues, in another paragraph: " This self is spaciousness. When it notices itself, there's an experience of barely discernible sweetness, like watery maple sap right out of the tree. Not the concentrated sweetness of the boiled-down version, like mystical bliss of physical orgasm. It's subtle. This self is so all-pervasive, so yielding and tender, that it's able to contain the misery and variety of the whole world, all the while sensing it's own presence everywhere."
We have all felt this other self, "...in a moment of particular stillness. A moment when you've become lost in the feathers of a bird you're looking at. A moment on the edge of sleep, or one in which you're riveted on a dancer on a stage. Or when you have a paintbrush or a fishing pole in your hand, and all the world grows still, and there are no problems anywhere that you can find." 
That *red dot? A symbol for consciousness.
Only a very thin film of gauze separates us from this other SELF.
Change perception. Dissolve the film. Awaken!
May your year be filled with the love, the peace and the joy of consciousness!
Jan Frazier Teachings
The Freedom of Being at Ease with What Is
*From Wikipedia:
Bindi: Traditionally, the area between the eyebrows (where the bindi is placed) is said to be the sixth chakra, ajna, the seat of "concealed wisdom". According to followers of Hinduism, this chakra is the exit point for kundalini energy. The bindi is said to retain energy and strengthen concentration. The bindi also represents
the third eye.[2] 

Swami Muktananda writes: 'Auspicious Kumkum or sandal wood paste is applied (between the eyebrows) out of respect for inner Guru. It is the Guru's seat. There is a chakra (center of spiritual energy within human body) here called Ajna (Aadnyaa) chakra meaning 'Command center'. Here you receive the Guru's command to go higher in Sadhana (spiritual practice) to the 'Sahasraar' (seventh and final chakra) which leads to Self realization. The flame seen at the eyebrow is called 'Guru Jyoti'. (From Finite to Infinite, by Swami Muktananda, SYDA Foundation, S. Fallsburg, NY, 1989, pp. 88–89) 

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