08.45
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Rising at 05.55.
A new exercise begins today, AAD with the NAFGCs.
Morning Sitting at 07.15.
Breakfast at 08.00.
A question was asked on Sunday, of doing nothing & doing something: How can I be doing nothing when I’m directing my attention around the body? The answer given then addressed the contradiction presented to our habitual way of thinking to aid “relaxing the mind”; that is, releasing the grip of monkey mind. An addition was presented this morning:
The relaxation exercises also focuses attention on necessary & unnecessary exertions and efforts.
Cf the GC Aphorisms:
Relaxation is necessary tension. Tension is unnecessary tension.
Honour necessity; honour sufficiency.
The relaxation exercise is the beginning of a process, where there is no end to the depth that we might find in our morning sitting. There are a series of morning exercises, of which relaxation is the first. Nevertheless, if this were the only exercise, we would never reach the depth available within it.
Violeta, our Alexander Teacher, told us two days ago that doing nothing was a complex operation (paraphrase). We discover how much energy is needed in this complex operation, what is sufficient, and what is more than that – waste.
Today is a new day! This is the first day of my life! What of our work for this morning? The Mighty Bull Of Mendoza sees calisthenics, Ignacio & Mariana see The Orchestrina, Master Kabusacki sees work with the Guitar Ensembles of Buenos Aires & Rosario, and Mariana also sees me working with the ensembles. Violeta sees an Alexander class this afternoon & Leonor sees T’ai Chi at 18.30.
The Orchestrina at 09.45.
The Ensembles at 11.00.
Calisthenics at 12.00.
Personal Meetings at noon.
10.52 At the Orchestrina meeting, a few words before the action.
There are different qualities of musicianship, so it follows there are different qualities of improvising: riffing, licks & tricks; developing variations; improvising; and spontaneous composition. Strategies for moving closer to spontaneous composition were suggested.
The recording by Sr. Nunez was noted. The Guitar Circle & The OCG does not shout, nor seek much in the way of publicity. Nevertheless, our work supports the work of others. For those looking for something which they are not quite finding in conventional approaches, perhaps in discovering our work is also to find an invitation to participate. In addition to our own historicizing & archiving, perhaps some of this sound will go out into the world to present what we’re doing to the wider society; and wave a flag to those who might be interested in it.
Orchestrina! Please en-cluster.
Orchestrina: when ready, please begin.
After perhaps 10 minutes the cluster moved open, eventually becoming a large Circle, smaller Circles, a large Circle, the music finding its natural completion after c. 40 minutes.
Free dispersal from the Circle.
On the board…
The Orchestrina Of Crafty Guitarists
11.50 Meeting with the combined Ensembles of Buenos Aires & Rosario who are rehearsing Red & Schizoid Man.
Personal meetings ahead at noon.
Lunch at 13.00.
15.05 At lunch, performance by the Combined Ensembles.
Three comments & a question for The Master Kabusacki who, in his subtle way, taught us of our reliance upon him.
Alexander Meeting at 15.00 underway.
Tea at 16.00.
16.55 A solo performance, in a series of solo performances by one particular player, at tea.
Personal meetings continue at 17.00.
20.29 T’ai Chi at 18.30.
Dinner at 19.00. Discussions on the work this evening & tomorrow, in preparation for tomorrow evening’s performance. We anticipate perhaps 60-70 local guests & family at the beginning of the performance. We are not sure how many will be present at the end.
Fab dessert – flan with dulce de leche & cream.
Post-dinner meeting with Director Nunez to discuss various current & future arisings, including the publication of several Guitar Craft repertoire pieces.
The OCG IV rehearsals at 20.45 beginning in the Green Room.
21.45 Twice-through the encircling & moving between-and-into spaces, and out again. One of the house team, the most inexperienced, spent the encore rehearsal-period staring at me. I find this astonishing, even after all the years I have been stared at.
There is a quality of gaze that takes, that steals, and this one example of it. This quality of participation (ie negative participation) characterizes a station, a place where a particular quality-of-being-present (ie being absent) is our centre of gravity, our level of being, the degree of our consciousness. It determines how we think, feel & behave; our rights (absolute), our obligations & responsibilities (negligible & to be negotiated in any case). It also attracts to us our quality of life; and, if not in the short term, then inevitably in the long term, disappointment: Why has life let me down? Not given me what I deserve? Why do people not respect me?
But, how to discuss the weather with someone whose head is placed where sunshine never falls?
The dormitories on the higher levels are pretty grim to these English eyes. This house looks as if it was left to itself, perhaps in the sixties or seventies; and the energy is without vitality. The house could be brought to life & activity, but that would require a commitment from the persons responsible for it. The Bishop gives it no money, Director Nunez was told. If there is no individual or group acting to further an aim for the house, with / without support from the authorities, it will likely continue on much as it is; with a little input from time to time offsetting the curve of decline. The dining room is good, the meeting room is good, the Star’s Room is good. The dormitories are not so good, and that of Sr. Nunez does not good enough to support his sleeping.
The condition of Gandara was much like this, perhaps even worse, when GC first went there. The kitchen here is already functional, no kerosene dripping by the kitchen flames, as at Gandara; and this was not an interrogation centre in the difficult years.
Several of the early GC houses had strange energy. Hernan & myself often discussed it, particularly where we shared the same kind of dreams. It seemed to us not-so-much that a house appeared to support a GC course, more that a GC course appeared to bring a certain-something into the house. Perhaps in Funes our work is bringing in a quality of application that contributes to this place’s presence.
On the board I…
II...
III...
Six Principles of the Performance Event
A principle is universal, a rule is inflexible, a law is invariable.
Music so wishes to be heard that sometimes it calls on unlikely characters to give it voice, and ears. This wishing-to-be heard calls into existence the Performance Event; where music, musician & audience may come together as one, in communion.
This communion has six different forms of being & experiencing itself (plus an invisible seventh); and these forms, or principles, are simultaneously present within the Performance.
I
When people get together with music, something happens.
When people get together, something happens.
When people get together with music, something remarkable happens.
When musician, audience & music come together in a performance, this something remarkable has a quality of its own.
The something remarkable is Music taking on a life of its own.
The Creation continues being created.
II
In a performance, things come together, mysteriously; and go better than we might anticipate; and better than we deserve.
In a performance event, the Benevolence that gives rise to Music brings together musicians & audience.
Things come together, mysteriously; and go better than we deserve, or might expect them to.
III
A performance can take on a life & character of its own.
Any particular performance event - with these people, in this place, at this time - defines the conditions of the performance: the where, when & what of the event.
This is on the outside.
The conditions of time, place & persons do not govern the quality of our experiencing of this performance.
Our experiencing is on the inside.
That the event happens is a given.
How we participate, listen, respond, is open & available.
What happens within the performance, that is, whether the performance comes to life or not, is to be created & discovered.
If this is so, the performance can take on a life & character of its own.
IV
Any one performance is a multiplicity of performances.
The degree to which we act as one, as a whole person, is a measure of our integration; that is, a measure of our Being.
The degree to which the performance is a whole event, depends upon the extent to which Musician & Audience & Music are able to enter into Communion as One.
Until this point, the performance event is as many performances as participants.
Beyond this point, the Whole Performance is every Performance: it is eternal.
The distinction between both is less than we might believe it to be.
So, any one performance is a multiplicity of performances.
V
The possible is possible.
We are able to be with others only to the degree that we are able to be ourselves.
This being so, we can only be in the performance to the degree that we can be ourselves: to be who we are.
It is possible to be who we are.
So, the possible is possible.
We begin with the possible, and move gradually towards the impossible.
VI
The impossible is possible.
Normality is what we might achieve, given who we are, what we are, the conditions & limitations of the world we work within.
Our “norm” is what we “ought” to be.
This is what is asked of us: to be who we were born to be, and to do what we were born to do.
This is already asking too much: it is impossible
Nevertheless, we begin with the possible & move gradually towards the impossible; trusting that the Benevolence which gives rise to Music is never far away.
So, the impossible is possible.
The Seventh Principle resides within Silence.
The Six Principles assume a common aim, good will & a willingness to participate in good spirit within the event, and the capacity to do so.
In a sense the Six Principles are available when the highest in us comes together; in the knowledge that, essentially, we are the same person.
When the lowest takes charge, the performance event downgrades; and the possible becomes increasingly restricted.
The impossible becomes impossible.
The best is then, that the possible remains possible.
The worst is, that the possible becomes impossible.
This is the Null Event: nothing happens.
A Null Event has no life span, no persistence, no present moment of its own.
The event disappears, as if it never was; and, really, it wasn’t.
The Null Event is a complete waste of time &energy.
Something is lost.
But, it doesn’t have to be like that.
May we trust the inexpressible Benevolence of the Creative Impulse.
Seis principios del Evento de Performance
Un principio es universal, una regla es inflexible, una ley es invariable.
La Música desea hasta tal punto ser oída que a veces elije a personajes improbables para que le den voz, y oídos. Este deseo-de-ser-oída hace que exista el Evento de Performance; donde la música, el músico y la audiencia pueden juntarse como uno, en comunión.
Esta comunión tiene seis formas de ser y de ser experimentada (mas una séptima invisible); y estas formas, o principios, están simultáneamente presentes dentro de la Performance.
I
Cuando la gente se junta con la música, algo sucede.
Cuando la gente se junta, algo sucede.
Cuando la gente se junta con la música, algo notable sucede.
Cuando músico, audiencia y música se juntan en una performance, este algo notable tiene una calidad propia.
El algo notable es Música tomando vida propia.
La Creación continua siendo creada.
II
En una performance, las cosas se juntan, misteriosamente; y salen mejor de lo que pudiéramos anticipar; y mejor de lo que merecemos.
En un evento de performance, la benevolencia que da lugar a la Música junta a los músicos y la audiencia.
Las cosas se juntan, misteriosamente; y salen mejor de lo que merecemos, o de lo que podamos esperar.
III
Una performance puede tomar una vida y un carácter propios.
Cualquier evento de performance en particular – con esta gente, en este lugar, en este momento – define las condiciones de la performance: El donde, cuando y que del evento.
Esto es en el afuera.
Las condiciones de tiempo, lugar y personas no gobiernan la calidad con la que experimentamos esta performance.
Nuestra experiencia es en el adentro.
Que el evento suceda, es un hecho.
Cómo participamos, escuchamos, respondemos, está abierto y disponible
Lo que sucede con esta performance, o sea, si toma vida o no, eso es algo a ser creado y descubierto.
Si esto es así, la performance puede tomar una vida y un carácter propios.
IV
Cualquier performance es una multiplicidad de performances.
El grado al cual actuamos como uno, como una persona entera, es una medida de nuestra integración; esto es, una medida de nuestro Ser.
El grado al cual la performance es un evento entero, depende de hasta que punto el Músico, la Audiencia y la Música pueden entrar en Comunión como Uno.
Hasta aquí, el evento de performance es tantas performances como sus participantes. Mas allá de este punto, la Performance Entera es cada Performance: es eterna.
La distinción entre ambas es menor de lo que podamos creer que es.
Entonces, cualquier performance es una multiplicidad de performances.
V
Lo posible es posible
Podemos estar con los demás solo hasta el grado en que podemos ser nosotros mismos.
Siendo esto así, solo podemos estar en la performance al grado al que podemos ser nosotros mismos: ser quienes somos.
Es posible ser quienes somos.
Entonces, lo posible es posible.
Comenzamos con lo que es posible, y nos movemos gradualmente hacia lo imposible.
VI
Lo imposible es posible
Normalidad es lo que podemos lograr, siendo quienes somos, lo que somos, dadas las condiciones y limitaciones del mundo en el que trabajamos.
Nuestra “norma” es lo que “deberíamos” ser.
Esto es lo que se nos pide: ser lo que nacimos para ser, y hacer lo que nacimos para hacer. Esto ya es pedir demasiado: es imposible.
Así y todo, comenzamos por lo posible y nos movemos gradualmente hacia lo imposible; confiando en que la Benevolencia que da lugar a la Música nunca está demasiado lejos.
Entonces, lo imposible es posible.
El Séptimo Principio reside en el Silencio
Los Seis Principios asumen un objetivo común, buena voluntad y una voluntad de participar de buen ánimo en el evento, y la capacidad para hacerlo.
En un sentido los Seis Principios están disponibles cuando lo más alto en nosotros se junta: a sabiendas que, esencialmente, somos la misma persona.
Cuando lo mas bajo se pone a cargo, el evento de performance se degrada; y lo posible se hace más restringido.
Lo imposible se hace imposible.
Lo mejor es entonces, que lo posible siga siendo posible.
Lo peor es, que lo posible se haga imposible.
Esto es, el Evento Nulo, nada sucede.
Un Evento Nulo no tiene tiempo de vida, ni persistencia, ni un momento presente propio.
El evento desaparece, como si nunca hubiera sido; y en realidad, nunca sucedió.
El Evento Nulo es un total desperdicio de tiempo y energía..
Algo se ha perdido.
Pero, no tiene que ser así.
Confiemos en la inexpresable Benevolencia del Impulso Creativo.
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Rising at 05.55.
A new exercise begins today, AAD with the NAFGCs.
Morning Sitting at 07.15.
Breakfast at 08.00.
A question was asked on Sunday, of doing nothing & doing something: How can I be doing nothing when I’m directing my attention around the body? The answer given then addressed the contradiction presented to our habitual way of thinking to aid “relaxing the mind”; that is, releasing the grip of monkey mind. An addition was presented this morning:
The relaxation exercises also focuses attention on necessary & unnecessary exertions and efforts.
Cf the GC Aphorisms:
Relaxation is necessary tension. Tension is unnecessary tension.
Honour necessity; honour sufficiency.
The relaxation exercise is the beginning of a process, where there is no end to the depth that we might find in our morning sitting. There are a series of morning exercises, of which relaxation is the first. Nevertheless, if this were the only exercise, we would never reach the depth available within it.
Violeta, our Alexander Teacher, told us two days ago that doing nothing was a complex operation (paraphrase). We discover how much energy is needed in this complex operation, what is sufficient, and what is more than that – waste.
Today is a new day! This is the first day of my life! What of our work for this morning? The Mighty Bull Of Mendoza sees calisthenics, Ignacio & Mariana see The Orchestrina, Master Kabusacki sees work with the Guitar Ensembles of Buenos Aires & Rosario, and Mariana also sees me working with the ensembles. Violeta sees an Alexander class this afternoon & Leonor sees T’ai Chi at 18.30.
The Orchestrina at 09.45.
The Ensembles at 11.00.
Calisthenics at 12.00.
Personal Meetings at noon.
10.52 At the Orchestrina meeting, a few words before the action.
There are different qualities of musicianship, so it follows there are different qualities of improvising: riffing, licks & tricks; developing variations; improvising; and spontaneous composition. Strategies for moving closer to spontaneous composition were suggested.
The recording by Sr. Nunez was noted. The Guitar Circle & The OCG does not shout, nor seek much in the way of publicity. Nevertheless, our work supports the work of others. For those looking for something which they are not quite finding in conventional approaches, perhaps in discovering our work is also to find an invitation to participate. In addition to our own historicizing & archiving, perhaps some of this sound will go out into the world to present what we’re doing to the wider society; and wave a flag to those who might be interested in it.
Orchestrina! Please en-cluster.
Orchestrina: when ready, please begin.
After perhaps 10 minutes the cluster moved open, eventually becoming a large Circle, smaller Circles, a large Circle, the music finding its natural completion after c. 40 minutes.
Free dispersal from the Circle.
On the board…
The Orchestrina Of Crafty Guitarists
11.50 Meeting with the combined Ensembles of Buenos Aires & Rosario who are rehearsing Red & Schizoid Man.
Personal meetings ahead at noon.
Lunch at 13.00.
15.05 At lunch, performance by the Combined Ensembles.
Three comments & a question for The Master Kabusacki who, in his subtle way, taught us of our reliance upon him.
Alexander Meeting at 15.00 underway.
Tea at 16.00.
16.55 A solo performance, in a series of solo performances by one particular player, at tea.
Personal meetings continue at 17.00.
20.29 T’ai Chi at 18.30.
Dinner at 19.00. Discussions on the work this evening & tomorrow, in preparation for tomorrow evening’s performance. We anticipate perhaps 60-70 local guests & family at the beginning of the performance. We are not sure how many will be present at the end.
Fab dessert – flan with dulce de leche & cream.
Post-dinner meeting with Director Nunez to discuss various current & future arisings, including the publication of several Guitar Craft repertoire pieces.
The OCG IV rehearsals at 20.45 beginning in the Green Room.
21.45 Twice-through the encircling & moving between-and-into spaces, and out again. One of the house team, the most inexperienced, spent the encore rehearsal-period staring at me. I find this astonishing, even after all the years I have been stared at.
There is a quality of gaze that takes, that steals, and this one example of it. This quality of participation (ie negative participation) characterizes a station, a place where a particular quality-of-being-present (ie being absent) is our centre of gravity, our level of being, the degree of our consciousness. It determines how we think, feel & behave; our rights (absolute), our obligations & responsibilities (negligible & to be negotiated in any case). It also attracts to us our quality of life; and, if not in the short term, then inevitably in the long term, disappointment: Why has life let me down? Not given me what I deserve? Why do people not respect me?
But, how to discuss the weather with someone whose head is placed where sunshine never falls?
The dormitories on the higher levels are pretty grim to these English eyes. This house looks as if it was left to itself, perhaps in the sixties or seventies; and the energy is without vitality. The house could be brought to life & activity, but that would require a commitment from the persons responsible for it. The Bishop gives it no money, Director Nunez was told. If there is no individual or group acting to further an aim for the house, with / without support from the authorities, it will likely continue on much as it is; with a little input from time to time offsetting the curve of decline. The dining room is good, the meeting room is good, the Star’s Room is good. The dormitories are not so good, and that of Sr. Nunez does not good enough to support his sleeping.
The condition of Gandara was much like this, perhaps even worse, when GC first went there. The kitchen here is already functional, no kerosene dripping by the kitchen flames, as at Gandara; and this was not an interrogation centre in the difficult years.
Several of the early GC houses had strange energy. Hernan & myself often discussed it, particularly where we shared the same kind of dreams. It seemed to us not-so-much that a house appeared to support a GC course, more that a GC course appeared to bring a certain-something into the house. Perhaps in Funes our work is bringing in a quality of application that contributes to this place’s presence.
On the board I…
II...
III...
Six Principles of the Performance Event
A principle is universal, a rule is inflexible, a law is invariable.
Music so wishes to be heard that sometimes it calls on unlikely characters to give it voice, and ears. This wishing-to-be heard calls into existence the Performance Event; where music, musician & audience may come together as one, in communion.
This communion has six different forms of being & experiencing itself (plus an invisible seventh); and these forms, or principles, are simultaneously present within the Performance.
I
When people get together with music, something happens.
When people get together, something happens.
When people get together with music, something remarkable happens.
When musician, audience & music come together in a performance, this something remarkable has a quality of its own.
The something remarkable is Music taking on a life of its own.
The Creation continues being created.
II
In a performance, things come together, mysteriously; and go better than we might anticipate; and better than we deserve.
In a performance event, the Benevolence that gives rise to Music brings together musicians & audience.
Things come together, mysteriously; and go better than we deserve, or might expect them to.
III
A performance can take on a life & character of its own.
Any particular performance event - with these people, in this place, at this time - defines the conditions of the performance: the where, when & what of the event.
This is on the outside.
The conditions of time, place & persons do not govern the quality of our experiencing of this performance.
Our experiencing is on the inside.
That the event happens is a given.
How we participate, listen, respond, is open & available.
What happens within the performance, that is, whether the performance comes to life or not, is to be created & discovered.
If this is so, the performance can take on a life & character of its own.
IV
Any one performance is a multiplicity of performances.
The degree to which we act as one, as a whole person, is a measure of our integration; that is, a measure of our Being.
The degree to which the performance is a whole event, depends upon the extent to which Musician & Audience & Music are able to enter into Communion as One.
Until this point, the performance event is as many performances as participants.
Beyond this point, the Whole Performance is every Performance: it is eternal.
The distinction between both is less than we might believe it to be.
So, any one performance is a multiplicity of performances.
V
The possible is possible.
We are able to be with others only to the degree that we are able to be ourselves.
This being so, we can only be in the performance to the degree that we can be ourselves: to be who we are.
It is possible to be who we are.
So, the possible is possible.
We begin with the possible, and move gradually towards the impossible.
VI
The impossible is possible.
Normality is what we might achieve, given who we are, what we are, the conditions & limitations of the world we work within.
Our “norm” is what we “ought” to be.
This is what is asked of us: to be who we were born to be, and to do what we were born to do.
This is already asking too much: it is impossible
Nevertheless, we begin with the possible & move gradually towards the impossible; trusting that the Benevolence which gives rise to Music is never far away.
So, the impossible is possible.
The Seventh Principle resides within Silence.
The Six Principles assume a common aim, good will & a willingness to participate in good spirit within the event, and the capacity to do so.
In a sense the Six Principles are available when the highest in us comes together; in the knowledge that, essentially, we are the same person.
When the lowest takes charge, the performance event downgrades; and the possible becomes increasingly restricted.
The impossible becomes impossible.
The best is then, that the possible remains possible.
The worst is, that the possible becomes impossible.
This is the Null Event: nothing happens.
A Null Event has no life span, no persistence, no present moment of its own.
The event disappears, as if it never was; and, really, it wasn’t.
The Null Event is a complete waste of time &energy.
Something is lost.
But, it doesn’t have to be like that.
May we trust the inexpressible Benevolence of the Creative Impulse.
Seis principios del Evento de Performance
Un principio es universal, una regla es inflexible, una ley es invariable.
La Música desea hasta tal punto ser oída que a veces elije a personajes improbables para que le den voz, y oídos. Este deseo-de-ser-oída hace que exista el Evento de Performance; donde la música, el músico y la audiencia pueden juntarse como uno, en comunión.
Esta comunión tiene seis formas de ser y de ser experimentada (mas una séptima invisible); y estas formas, o principios, están simultáneamente presentes dentro de la Performance.
I
Cuando la gente se junta con la música, algo sucede.
Cuando la gente se junta, algo sucede.
Cuando la gente se junta con la música, algo notable sucede.
Cuando músico, audiencia y música se juntan en una performance, este algo notable tiene una calidad propia.
El algo notable es Música tomando vida propia.
La Creación continua siendo creada.
II
En una performance, las cosas se juntan, misteriosamente; y salen mejor de lo que pudiéramos anticipar; y mejor de lo que merecemos.
En un evento de performance, la benevolencia que da lugar a la Música junta a los músicos y la audiencia.
Las cosas se juntan, misteriosamente; y salen mejor de lo que merecemos, o de lo que podamos esperar.
III
Una performance puede tomar una vida y un carácter propios.
Cualquier evento de performance en particular – con esta gente, en este lugar, en este momento – define las condiciones de la performance: El donde, cuando y que del evento.
Esto es en el afuera.
Las condiciones de tiempo, lugar y personas no gobiernan la calidad con la que experimentamos esta performance.
Nuestra experiencia es en el adentro.
Que el evento suceda, es un hecho.
Cómo participamos, escuchamos, respondemos, está abierto y disponible
Lo que sucede con esta performance, o sea, si toma vida o no, eso es algo a ser creado y descubierto.
Si esto es así, la performance puede tomar una vida y un carácter propios.
IV
Cualquier performance es una multiplicidad de performances.
El grado al cual actuamos como uno, como una persona entera, es una medida de nuestra integración; esto es, una medida de nuestro Ser.
El grado al cual la performance es un evento entero, depende de hasta que punto el Músico, la Audiencia y la Música pueden entrar en Comunión como Uno.
Hasta aquí, el evento de performance es tantas performances como sus participantes. Mas allá de este punto, la Performance Entera es cada Performance: es eterna.
La distinción entre ambas es menor de lo que podamos creer que es.
Entonces, cualquier performance es una multiplicidad de performances.
V
Lo posible es posible
Podemos estar con los demás solo hasta el grado en que podemos ser nosotros mismos.
Siendo esto así, solo podemos estar en la performance al grado al que podemos ser nosotros mismos: ser quienes somos.
Es posible ser quienes somos.
Entonces, lo posible es posible.
Comenzamos con lo que es posible, y nos movemos gradualmente hacia lo imposible.
VI
Lo imposible es posible
Normalidad es lo que podemos lograr, siendo quienes somos, lo que somos, dadas las condiciones y limitaciones del mundo en el que trabajamos.
Nuestra “norma” es lo que “deberíamos” ser.
Esto es lo que se nos pide: ser lo que nacimos para ser, y hacer lo que nacimos para hacer. Esto ya es pedir demasiado: es imposible.
Así y todo, comenzamos por lo posible y nos movemos gradualmente hacia lo imposible; confiando en que la Benevolencia que da lugar a la Música nunca está demasiado lejos.
Entonces, lo imposible es posible.
El Séptimo Principio reside en el Silencio
Los Seis Principios asumen un objetivo común, buena voluntad y una voluntad de participar de buen ánimo en el evento, y la capacidad para hacerlo.
En un sentido los Seis Principios están disponibles cuando lo más alto en nosotros se junta: a sabiendas que, esencialmente, somos la misma persona.
Cuando lo mas bajo se pone a cargo, el evento de performance se degrada; y lo posible se hace más restringido.
Lo imposible se hace imposible.
Lo mejor es entonces, que lo posible siga siendo posible.
Lo peor es, que lo posible se haga imposible.
Esto es, el Evento Nulo, nada sucede.
Un Evento Nulo no tiene tiempo de vida, ni persistencia, ni un momento presente propio.
El evento desaparece, como si nunca hubiera sido; y en realidad, nunca sucedió.
El Evento Nulo es un total desperdicio de tiempo y energía..
Algo se ha perdido.
Pero, no tiene que ser así.
Confiemos en la inexpresable Benevolencia del Impulso Creativo.
