Wednesday, May 17, 2006

Neurologic

Robert Anton Wilson aka RAW
Update June 13th: this course got postponed, as Bob doesn't feel so good right now....

The Venerable Bob will teach another course for the summer season, and this looks like the accumulator we have all waited for - finally tackling Korzybski and Bandler's NLP - and throwing Leary and Ezra Pound into the mix.

Neurologic
follow link, or explore the Maybe Logic Academy home pages...link on the right...
Richard Bandler - co-founder of NLP
Learn how to really "think outside the box" in an 8 week journey though Korzybski's non-aristotelian semantics, Bandler's neuro-linguistic programming and Pound's ideogramics all united with Leary's model of the 8 circuits of evolution. Summer fun for your brain.
Alfred Korzybski - who started the whole thing with General Semantics
All reading material online and included with course.

8 week course from
June 19 - August 13, 2006

Saturday, May 13, 2006

Monday, May 01, 2006

Our Clown: Act One, Scene Two

Act One, Scene Two

We open with the clown laying in the center of the circle in the fetal position. Hes sucking his thumb and shaking.

Narrator: Our Clown has learned about pain. It is this pain, cause by things outside his self, that makes him question the reality of that which is not of himself. He decides that it is real, and that it is bad. Now Our Clown starts forming the concept of duality. At first he only saw himself as real, and recognized that which was outside himself, but refused to see it as real. With this new idea of pain caused by the outside, Our Clown decides that there are now two realities, one good, one bad. The reality of himself is good, and the reality of the outside is bad.


The clown gets up, and starts pacing the circle.


Narrator: Our Clown remembers how he made his hands part of his whole oneness. (Clown stops, looks at his hands, smiling). Perhaps he can start making the bad reality of the outside part of his self, and therefore make it good reality. (Clown begins crawling across the floor, rubbing his hands across it). His touch is an act of consecration. Our Clown is a God creating the universe in his own image.


The clown makes the entire circle once over with his hands. Once finished, he wipes his hands together in a gesture of job well done. He is very pleased.


Narrator: Our Clown feels safe, and happy. Having examined, explored, and touched all that is within his circle, he knows it now to be of himself, and part of the good reality. (Soft keyboard music begins again. Clown dances around the circle). Inside of his circle Our Clown creates inner circles. Each circle going closer to the center. The smallest circle in the center is the most real. Our Clown calls this circle home. (Clown stands in the center most circle and spins).


Lights dim as the clowns spinning slows down. Eventually there is total darkness and the clown is still. End of scene.

Naad Yoga

"There are eighty-four meridian points on the upper palate of a human’s mouth. One can feel that upper palate with the tongue and experience its different surfaces. There are two rows of meridian points on the upper palate and on the gum behind the upper teeth. The tongue stimulates those meridian points, and they in turn stimulate the hypothalamus which makes the pineal gland radiate. When the pineal gland radiates, it creates an impulsation in the pituitary gland. When the pituitary gland gives impulsation, the entire glandular system secretes and a human being obtains bliss. This is the science."

"We are in a cusp period, a time in our history before everything as we know it changes. Do you really want to be like everyone else or do you want to express and create and experience the real you during one of the most exciting transitions in earth’s history? If the answer is the latter, it is essential to find the neutral space within your mind, which balances the body and aura and gives you the capacity to survive the monumental changes of the present and those which surely lie ahead. Develop the discipline now to align yourself with the current of the Universe- not the undercurrent of fear intentionally devised by external forces to control you- before the speed quickens to a pace that seems unmanageable or unattainable. It is never too late to create a firm practice that integrates the earthly and heavenly forces where you can reach these neutral zones and experience what it is like to ride above the chaos instead of succumbing to it. Remind yourself as often as possible, “the structure of my thoughts can be altered by my breath and the sound.” When you combine the prana and mantra, new spaces and places are opened and forward movement can be achieved."

Excerpts from: Sikhnet.com and Harijiwan.com

Please, do not underestimate the power of the Breath and the Sound Current to alter your electromagnetic field. I feel that this technology is of the utmost relevance in the current and forthcoming age.

-Sat Nam

Our Clown: Act One, Scene One

OUR CLOWN

Or, Apologetically Forcing My Trip On You Again

ACT ONE, SCENE ONE


We open with the clown alone in the circle. The lights are dim. Utter silence. The clown begins to move around slowly, confused.

Narrator: Our Clown was born in a haze of chaos. Things are very unknown and scary. First he stands up. (Clown stands up, looks around, sad). Eventually he finds his hands, and is deluded into thinking he’s got company.

Soft keyboard melody begins. The clown dances across the stage, watching his hands. Large steps, and swaying, the clown makes the circle again, and again.

Narrator: Our Clown personifies his extremities. He’s aware that he is real, and therefore, that which is of him is real.

Delight fills the clown. The dancing starts becoming swirling. Arms extended, watching his hands, the clown spins and spins.

Narrator: Our Clown is lost in the spiral. He’s not even aware that there is a way out. He might not even want out. This happens when you aren’t even aware of your surroundings. But wait! Something’s happened!

The clown starts seeing his hands as demons. He starts losing balance. He almost falls, gets his balance back, almost falls again. Stops.

Narrator: Our Clown is overwhelmed, and when it seems he can’t take it anymore, he starts to notice things outside of him. (Clown gazes at the crowd, terrified). He’s still sure that he’s real, and his hands are real, but now all these new faces, and hands. (Clown starts fearfully backing away from the crowd, staring at their hands). They all look so much like his hands. Suddenly, it becomes clear to Our Clown that his hands are not separate from himself, but part of his whole oneness.

The clown starts moving like water, fluidly flailing across the stage. He starts becoming aware of his whole body, still flowing, he examines different pats of his body.

Narrator: Our Clown is aware of his entire being. It is all part of himself, and he sees it as real. Reality is the one thing Our Clown knows to be good in his infancy. All that is good and right is what he knows, and all he knows is himself. (Clown stops, hugs himself). Comfortable, and real, and known, and good, Our Clown decides to listen to his body, mainly because he’s still lost, and needs guidance.

The clown starts making a listening gesture, not unlike Hulk Hogan, and starts trying to hear his body. He can’t hear some parts, and it makes him squint and concentrate. He doesn’t like doing that, so he moves on and tries other parts. Some are very loud, and scare him. Startled, he pulls away and tries his belly.

Narrator: Our Clown finally hears it. Can you hear it? (Clown looks at the crowd, questioning them with his eyes, a loud gurgle is played over the speakers). Need is something new to Our Clown, but it is of him, so it must be good.

The clown begins looking across the circle, but only inside of it. He’s making a gesture with his hand like a visor. He finds something and picks it up. It’s a lighter. He examines it and strikes the flame. He’s hypnotized by the lights dancing. He tries to dance with it but it goes out. This makes him sad, and he paces around sulking for a minute, and then looks back at the lighter, and rubs his belly. Strikes it again and his whole being lights up with it. He opens his mouth and stats to take the flame in, but stops, stares at it, and touches it with his hand.

Narrator: Our Clown doesn’t know this. Our Clown doesn’t like this.

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