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Previous Item   Friday, 28th August 2009  Next Item SOUND  VISION WORD
   

09.12

DGM HQ.
The sun is shining.



The street I…



II...



III...



Alex came in early, Nicky bookkeeper not long afterwards.

09.26

Work – Work

Employment-Work        Work-Employment

Employment - Employment

Intentional action generates a specific result.
Unintentional activity generates more unintentional activity.

10.16   
Twenty quality minutes a day keeps the world turning.
One hour of quality a day changes the world.

11.03    May I Interject?
:: Posted by alliespop on August 27, 2009

Would love to know opinions (would love to hear what Robert thinks) or experiences out there regarding the Suzuki method of training children. 

I have no personal experience of the Suzuki method.

gc for children
:: Posted by elisap on August 27, 2009

I also am curious if children would benefit from the Guitar Craft style of learning.
maybe a simplified version for children?...

Guitar Craft courses have an intensity, and place a level of demand upon the student, that is inappropriate for children. But, this is an area worthy of specialist application. There are a few experienced Crafties who have applied their understanding of Guitar Craft principles & practices to their work with children, including Mr. Hairy of Italy (formerly Mr. Baldy). Mr. Hairy has told me that, in his work with children in the Circle, he feels Guitar Craft is present.

11.06    The overall end-stage of a process, once we have applied ourselves to the task at hand & crossed the Great Divide, is that of verification.

Conventionally, this involves presenting our work to one who is, at least, competent in the field. That is, the adjudicator has already been this way before and, themself, was judged worthy by their own predecessor/s.

The work of an apprentice requires verification by an (at least) established professional. In conventional terms, the apprentice is adjudged worthy by a recognised & acknowledged craftsperson.

The work of an established professional / craftsperson requires verification by one who has acquired mastery, and knows the mystery (the intrinsic & characteristic quality) of the particular field of endeavour.

In exceptional cases, our work is presented to a community of our peers, who provide a sufficient joint authority to confirm the quality of our application. This is a provisional verification, pending the acknowledgement of a greater, singular authority.

12.59    Reflecting on the happenstances of spiritual endeavour venturing out in to the world where politics & religious manifestation collide…

Good Things Happen for Good Reasons

Good Things Happen for        Bad Things Happen for
Bad Reasons            Good Reasons

Bad Things Happen for Bad Reasons

13.45    What’s this? I...



Mr. Stormy & Hugh the Fierce are getting the THRAK multi-track tapes ready for Hugh to take to London for baking. These will then move to Studio Jakko for Jakko to mix in 5.1..



What’s this? I…



II…



A present has arrived, concerning below-he-surface activities & an alternative history of well-known English undertakings.

15.57    A meeting with David & Nicky book-keeper to discuss various arisings.

16.28   
The Guitar Craft History Project.

I
The primary aims of the Guitar Craft History Project are to:

1.    continue learning from our prior experiences & experiencing;
2.    transmit information to new & subsequent generations of students;
3.    develop insights & ideas that are presently under-appreciated, ignored and/or in danger of being forgotten;
4.    develop harmony, personally & within the group;
5.    hold our Aim in front of us.

II

One way of approaching the Guitar Craft History Project is to see it as an extension of the daily practice of recapitulation.

At the end of our day, before our head hits the pillow, we re-capitulate, re-experience, re-member the events & arisings of our day.

Recapitulation: making a connection to our experiences & experiencing in the past enables us to continue learning from them.

Re-experiencing enables us to digest the content of our experiencing, to nourish us today & better support our tomorrow.

Remembering connects us to our Aim.

We make a connection to the content of our prior experiencing.

When this connection is established, we may be surprised to discover that there is no separation in time between our experiencing then & now; ie the present moment of our experiencing has extended.

As this practice becomes more established, even the experiencing of our very early lives may become available to us.

III

Who, When, Where, Why?

Who am I?
Where do I come from?
What brought me here?
What is my aim?

What happened?
What led to that happening?
When?
Where?
Who else was present?

What did I do?
What was done to me?
Why was this taking place?
What were the results of this event?

How has this effected how I live my life today?
What relationship does this bear to my present life aim/s?

Simply put, what does my experience mean to me, really, today?

IV

There are different ways & kinds of experiencing; eg through ideas & patterns of thinking; feeling & affective states; and practical, hands-on, visceral application & engagement.

There are different qualities of experiencing; eg a Point of Seeing is a direct & instantaneous connection to what is seen. In a sense, there is no distance between the Observer, the Observed & the Observing.

V

Functional aspects that activate our associations:

diaries & notebooks;
photographs;
recorded conversations & reminiscences;
online networking; eg Facebook & dedicated relevant blogsites;
the GC Archive in Kiel.

VI

We forget. We forget that we forget. We make the mistake of thinking that each invention, insight & discovery is for the first time (in distinction to as if for the first time). And maybe some revelations & creations are novel. But mostly, what we discover & experience has already been discovered, experienced & forgotten.

Valuable ideas & insights that have appeared in Guitar Craft have not yet been developed. They are in danger of being forgotten and/or remaining undeveloped. They may not be developed within this generation, but they may speak to our grandchildren.

Three examples from work in the Guitar Circle:

the Tone Clock;
particular forms & patterns of circulating: “peels” or “changes”;
the Transmission of Qualities.

Each of these is worthy of specialist application.

17.38    A kitchen-discussion with David re: the English approach to philosophy, emphasising language. One example discussed:

Fit for purpose > Survival of the fittest > Survival of the strongest.

Actually, Darwin’s intended meaning seem to be closer to survival of those most fit for purpose. This, one example in the drift of linguistic meaning over time.

Shortly off to Bredonborough with a recently-burnt Theo & Fripp – Alarmingly Lively!  CD for listening on the way home.

21.04    En route, a visit to Wilton & Romain’s Emporium Of Continually Appearing & Disappearing Antiquities along the way…



Arriving home, the Minx & WillyFred came out the back door to meet me. I can ask for no better welcome than that. Yippee!

The street I…



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To gentle.

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