Love Is An Illusion Chapter 33

In this section of the chapter, the course breaks down the illusions of the ego even more. We get an even better understanding as to why ego can’t experience love without conflict. Also, have you ever noticed the message of the course in the movie\/book \”The Wizard of Oz\”? It serves as an example to understanding that in spirit ’to have’ and ’to be’ are the same. Listen in!Abstract and concrete, being and existing, and creation and communication. In this episode, we will examine the meaning behind these terms and discuss how they relate to our journey.

We will examine and discuss in detail different inspired and sacred text. Join me for the next series of seasons as we journey through \”A Course In Miracles\”. Thank you for making me a part of your journey.
New poetry club \u201cThe Crab-flower Club\u201d \u6d77\u68e0\u793e just dropped, and Daiyu is sweeping up sunsets. Meanwhile Baoyu can\u2019t seem to keep on-prompt\u2026

In pt. 4 of 4 of our epic Hong lou meng \u7d05\u6a13\u5922 Ch. 5 \u201cDream Chapter\u201d discussion, a leisurely jaunt through the lyrical Land of Illusion \u592a\u865b\u5e7b\u5883, we learn what happens when one dreams within a dream, to find the bed being dreamt in already occupied by the dialectical synthesis of one\u2019s two primary love interests. What is this danger lying at the edge of illusion? What are these monstrous beasts reaching out from the void, and what is the meaning of this wooden raft?
Rereading the Stone is a weekly discussion of historical Chinese literature, philosophy, and poetry, currently focusing on the Qing dynastic Classic novel Dream of the Red Chamber (Hong lou meng \u7d05\u6a13\u5922) also known as Story of the Stone (Shitou ji \u77f3\u982d\u8a18).Så nästa gång du ser någonting eller något som händer, det är förutsett. Varför? Fundera själv. Vissa saker kan du nog komma på svaret, men varför svaret är svaret får vi inget svar på.Okej, du vill skapa din lilla tidsmaskin och hoppa tillbaka i tiden och göra den och den saken annorlunda, men vad händer då med nuet? Om du ändrar på den där saken du gjorde eller inte gjorde, hade du då träffat den där personen du tycker så mycket om? Hade du levt där du bor idag? Hade du fått det där jobbet som du fick genom att vara den där plugghästen du egentligen inte ville vara? Om du fått rädda livet på den där personen, hade dagen idag varit som den var eller helt tvärtom?

Hade det varit som förut hade många sjukdomar fortfarande varit obotbara, säkerheten att kunna nå varandra via mobil hade varit off, handla snabbt och enkelt hemifrån via internet och betala räkningar på mindre än ett ögonblick är bara att glömma, trevliga lärare – vad är det?
Enligt min mening, vi gör saker och ting vi ångrar, men allt händer av en anledning. Vi kan inte säga varför, det bara är så. Någonting större än oss alla ser till att det som händer verkligen händer, det kan vara ödet. Vem vet? Som sagt, denna text är helt förutsedd att jag skulle skriva, och inte ens jag själv vet varför. Det bara blev så, och det är så det blivit. Jag funderar själv många gånger på att det och det skulle vara ändrat, men sedan inser jag, vad skulle ha hänt med idag om jag ändrat på det som varit? En tanke jag egentligen inte vill tänka eftersom nutiden är här, och den är fin.

Alf Hornborg is Professor of Human Ecology at Lund University since 1993. He received his Ph.D. in Cultural Anthropology from the University of Uppsala in 1986 and has taught at Uppsala and at the University of Gothenburg. He has done field research in Peru, Nova Scotia, the Kingdom of Tonga, and Brazil. His primary research interest is the cultural and political dimensions of human-environmental relations in past and present societies, particularly from the perspective of world-system analysis. This has led him to explore various perspectives not only from anthropology but also from trans-disciplinary fields such as environmental history, ecological economics, political ecology, and development studies. The central ambition has been to examine how specific cultural assumptions constrain human approaches to economics, technology, and ecology, and how such assumptions tend to serve as ideologies that reproduce social relations of power.Alec & Nick conduct a first meeting of the “Neo-Feudalist Captive Music Society,” an invented club that takes shape around how contemporary musicians are obliged to live on borrowed land and provide homage, labor, and shares of their “produce.” The discussion describes how local music networks often exist outside the castle walls of the various abstract systems they operate within. Attempting to trace the limits of political economy, music scenes as liberatory associations, and the critiques of late capitalism from theorists like Franco “Bifo” Berardi & Christian Marrazi, the conversation arrives at the production of a “Captive Music”—an embodied, local, entrapped, but warrior-like music. Other topics include the machineries of irony and sincerity, musical “guilds,” auto-surveillance, american politics, loyalty, colonization, the club, Keiji Haino, and more. Alec and Nick pull back the Flavortone curtain and take up influential sitcom Frasier to discuss the decorum of Foibles as a primary engine of music. Known as a minor weakness or eccentricity in one’s character, or the weaker part of a sword blade—the conversation uses the Foible to explore wide-ranging commentary on Christianity, the trial of Socrates, sites of contested authorship in American minimalism, Rip Van Winkle sleeping through the Revolutionary War, comedy, Fluxus, the work of Torn Hawk, and more. Ultimately, the duo asks: is the foible of a blade actually the avant-garde? Are the aesthetics of experimental music actually defined and determined by the foible? And, is the foible a primary site for our social life and shared narratives of music? The discussion ends with Alec and Nick sharing anecdotes of their own personal foibles in the realm of music: including getting embarrassingly wasted at Cecil Taylor’s birthday party, abandoning one’s post as a handbell choir director in Ohio, and the foible masterclass of co-running a DIY music space in the early 2010s. Alec & Nick take to the proverbial skies with this discussion around the dreaming and engineering feats which make possible the various metaphorical and real forms of Flight. Diverting from some of FT’s established conversations dealing with cultural and musical wreckage, this episode looks into moments of lift and inspiration, as supported by efforts of imagination, study and experimentation. The discussion ranges from a consideration of passive and active flight, the commercial airline experience, musical tuning systems and just intonation, the tensions inherent in human progress, the journals of Leonardo DaVinci, synthesis and synthesizers as instruments of belief and knowledge, Buckminster Fuller’s “Great Pirate” paradigm, Evagrius Ponticus’ “Demon Pilot,” and more.

For a Halloween special, Alec and Nick take up Søren Kierkegaard’s frightening text “Fear and Trembling” as a starting point to discuss fear as it relates to philosophy, music, film, and life. Discussing the chilling crisis of faith during Abraham’s binding of Isaac and the subsequent “Teleological suspension of the ethical”—the conversation evolves into a broader exploration of universal vs. situational fear, affects of fear vs. the motivations of fear, and the administration and control of fear in everything from the music of Scott Walker, Kubrick’s The Shining, Krzysztof Penderecki, climate protesters actions toward paintings, alien surveillance, Sasquatches on the beach, and more. Ultimately, the discussion arrives at tautologies or “degree zeros” of existential fear—from John Cage confronting his own circulatory system in an anechoic chamber, to capitalism and environmental collapse in Lars “TCF” Holdus’ new blogpost “Undoing nihilism.”

Teasing their forthcoming music writing website (TBA), Alec and Nick delve the epistemic guts of music and the written word. The episode traces broad historical discussions of music criticism in relation to current trends in publication and music production. Topics include Substack, The Village Voice, the ”critic-as-artist” the Schumann-founded journal Neue Zeitschrift für Musik, genre discourse, Alan Licht, Greg Tate, Tiny Mix Tapes and more.
Alec and Nick consider the music and cultural impact of Frank Sinatra through a discussion of his album, “Sinatra At The Sands” — recorded in 1966 at the famous Las Vegas hotel and casino. Drawing from observations about Sinatra’s iconicity as a stylist of American popular song, a persisting contemporary signifier of celebration and kitchen-sink comfort and a high water mark of traditional masculinity and coolness, the conversation explores broad cultural dynamics of authenticity and “normalcy” as an aesthetics of traumatic, reparative coping. Topics include the Lindy effect, the old Hollywood/New York divide, PC Music, Jean Baudrillard’s 1996 headlining appearance at the Chance Event (organized by Chris Kraus), and more.Alec and Nick discuss the concept of craft and craftsmanship as a paradigm that dictates behavior in cultural production and art. The conversation explores differences between the utility of craft and the performativity or representation of craft as an aesthetic repertoire. Topics include regionality and nostalgia in everything from indie rock and country music to experimental music that references 20th century composition, as well as recording techniques, artisanal food culture, Aristotle’s “Nichomachean Ethics” which distinguishes between “Episteme” and “Techne,” Plato’s Republic, refinement culture, reissue culture, gentrification, and the industrial and material conditions that surround craftsmanship. Ultimately, a continuum between abstraction and interpretation and practice is set up, provoking further discussion about objects, an analysis of craft in a digital context, Instagram’s merchant culture, and the new highfalutin antique store “Tihngs” on Catalpa Avenue.

Following on from Flavortone’s previous episode exploring Excellence, Alec and Nick pick up Charles Keil & Steven Feld’s “Music Grooves” to discuss “the Groove” as a political concept that illustrates musical discrepancy and assembly. The episode continues a “back to basics” and “first principles” line of inquiry, approaching essential ethnomusicological ideas such as “Participatory Discrepancy” that describe how a simultaneity of difference can give music its power and meaning. The conversation also discusses riffs and phrases, contrasts the Groove to Attali and Nieztche’s ideas of carnival and the Dionysian, creates a comparison between “literary” and “linguistic” musical orientations, re-discusses “Agave Expressionism,” and ultimately describes how the Groove offers an alternate perspective of sound beyond the universalism of western art music and institutional major histories.Alec and Nick kick off the new year of podcasts with a discussion of Excellence. Taking on critical histories of the composer as fodder, the episode surveys musical success paradigms and the narcissisms of small difference which feed debates over musical interpretation. Topics include Alec and Nick’s recent performances as participants in Random Gear Festival, a recent viewing of Tár, the parasite as a metaphor for interpretation, old-school classicism, Harold C. Shonberg’s book, “The Lives of the Great Composers,” musical idealism vs. counterculture, music as text, and more.

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