…snow in the mountains!!!…

…kimi kozu wa…hitori ya nenan, sasa no ha mo…

If you don’t come
I will not sleep – alone…
…with leaves of bamboo grass –
deep, deep in the mountains –
rustling on a frosty night…

– – – Fujiwara Kiyosuke

…dry branches and front porch…

…Guy Debord / La Société du Spectacle(51)…

162

  • Beneath all the obvious fashions that form and re-form on the surface of “read-only,” consumer, pseudo-cyclical time, the grand style of any epoch is always that which is guided by the obvious yet unstated need for a revolution.

* – * – *

So.

The American artist.

This is how it went in the latter half of the last century: you spent decades and decades and depths of passion on the  o n e  thing you  h a v e  to make… the thing that is the trace of yourself and where you stand in society.

And at some point, maybe, it’s a hit: and then what? You have a year or less to come up with something new, something else, that isn’t your “first” piece, but also, in some ways, is. But you already did that. It’s done. You don’t need a duplicate. But you don’t have a reason to do the thing that’s not it.

Our greatest artists were the ones who delayed this moment for a few years, but still it comes: Hemingway, Sam Shepard, Bob Dylan…

And those of us who are younger… what we finally noticed was this: even outside America, the artists who managed to keep going for a lifetime were those who were trying to change the world – even if only because their work is now indelibly in it. Brecht, Paul Claudel, Beckett, T.S. Eliot, Pinter…

This is what Guy Debord is talking about when he writes: “we have done enough interpreting of the emotions.  It is time, now, to discover new ones.”  He is riffing on the Feuerbach Theses of course.

This is what Jeanette Winterson learns when she realizes: “What I want does exist if I dare to find it.”1)

This is what Peter Brook is writing about when today he advises: “A shock that awakes our indignation is cosy and is quickly forgotten. A shock that opens us to the unknown is something else and makes us feel stronger as we leave [the theatre].” 2)

So…

1) Love, p.2
2) Tip of the Tongue, pp. 73-74
read more:

…magical light in dojo!!!…

O’Sensei no kuden: Keiko (31)

Be more flexible.

– – – reported by Gozo Shioda Shihan,  Aiki Shugyo  p.135

…shinden with big white!!!…

…tani no ma ni!!!…

At the bottom of the ravine
just a single pine
alone –
and I thought
I was the only one without a friend

– – – Saigyo

…the view up to heaven!!!…

…floating rainbow-bridge of Heaven, dragon swimming through the clouds(2)…

…and as always, the image is a practical metaphor: a visualization aid. The dispassionate, unassailable mind of the dragon is akin to O’Sensei’s “being at the center of the universe” – Ame-no-Mi-naka-nushi – and it can help to relax the occiput, the ming-men, and the spot between the shoulder-blades, that traditionally are regarded as the last, most stubborn blockages to ki-flow. And the movement of the dragon’s wings helps loosen up the area beneath the accupoints on either side of vertebra T12… and suddenly you can feel like you’re floating in the clouds – or swimming in the clouds…

…and our version of this is Ame-no-Tori-fune.