Items tagged with: philosophy
Person: and if i start at 0 and count up in infinitesimal increments an infinite number of times what number will I arrive at?
Wiseman: all of them
#philosophy #math #maths #mathematics @math
I say unto you: one must still have chaos in oneself to be able to give birth to a dancing star. I say unto you: you still have chaos in yourselves.
Alas, the time is coming when man will no longer give birth to a star. Alas, the time of the most despicable man is coming, he that is no longer able to despise himself. Behold, I show you the last man.
"What is love? What is creation? What is longing? What is a star?" thus asks the last man, and blinks.
The earth has become small, and on it hops the last man, who makes everything small. His race is as ineradicable as the flea; the last man lives longest.
"We have invented happiness," say the last men, and they blink. They have left the regions where it was hard to live, for one needs warmth. One still loves one's neighbor and rubs against him, for one needs warmth...
One still works, for work is a form of entertainment. But one is careful lest the entertainment be too harrowing. One no longer becomes poor or rich: both require too much exertion. Who still wants to rule? Who obey? Both require too much exertion.
No shepherd and one herd! Everybody wants the same, everybody is the same: whoever feels different goes voluntarily into a madhouse.
"Formerly, all the world was mad," say the most refined, and they blink...
One has one's little pleasure for the day and one's little pleasure for the night: but one has a regard for health.
"We have invented happiness," say the last men, and they blink.
-- Thus spoke Zarathustra, Nietzsche
#Nietzscche #poetry #poem #philosophy #quote #Quotes
Certains ont chanté pour se procurer des sensations agréables, du repos, oublier la fatigue, la notion du temps.Al-Fārābī abū n-Naṣr Muḥammad ibn Muḥammad ibn Tarhan ibn Uzlaġ, Kitābu l-mūsīqī al-kabīr = Grand traité de la musique, Paris : Geuthner, 1930, p. 18.
Our neighbours have a new kitten. While I am sitting at the garden table, it darts out of its hiding place, romps around the garden, and then chases a little cloth mouse under the table between my feet, breathing life into it by hitting it with its paws, apparently deliberately driving it into those hard-to-reach nooks and crannies from where it can only retrieve it by stretching its front legs under the curved garden table legs. By the way, the kitten promptly chose its hiding place in the pot in which the papyrus almost froze to death last winter, and where the dry stems and leaves rustle so loudly when it hits them with its paws.
I am perplexed by this endless pleasure. If I could ask the kitten why it was doing this, what would it answer? "Because I enjoy it?" "Because this instinct is part of my genetic nature?" "Just (like that)?" It probably wouldn't say anything to that. Just as its conspecifics would not ask it that question. If the kitten were capable of reasoning, the "Just (like that)!" would probably sum it up. In Korean 그냥, a word I hear often in Korea, not just among children, perhaps my favourite word from my Korean vocabulary.
All over the world, it was common for farmers to dance, sing or even play music together after they had finished working in the fields, often while still in the field or on the way home from the field. In some areas, this custom can still be found today, if not in the field, then in a corner with benches and wicker chairs of the common outdoor space of the settlement or in a inn. Feierabend (knocking-off time, lit. celebrating evening): I think this is my Korean partner's favourite word from the German vocabulary.
Like every farmer's child, I know that tilling the fields during the day is part of the game. But so is the evening. And this change is what puts one in a joyful mood to celebrate. I don't think that has changed much with the advent of craft and even service occupations. The forcible deprivation of this joy through servitude, exploitation, enslavement is unforgivable as man is deprived of being human. Fortunately, the human will is indomitable: even slaves sang to forget their weariness.
Our #^tr'ensemble training seems to be a continuation of the celebrating tradition. In the training, we exchanged our thoughts about this idea. In fact, the Feierabend feeling seems to be the unifying element of the training. It quickly became clear that there is no need to add anything to it at all. We are all very familiar with this feeling of simply enjoying life after work and doing things that make us forget the hardship. Nobody asks us why we join the tr'ensemble training. The most appropriate answer would probably be "Just (so)!" Like the kitten, we enjoy stimulating muscles and vocal cords, trying out rotational axes, letting torques work, letting frequencies ring out. A compensation for the neglect caused by the grind.
Linguistic detour no. 3 (the German language really lends itself to philosophising): In the end, are "dancing", "singing" and "playing musical instruments" simply synonymous with "Spielen" (playing)? Or where does this "Spielen (playing) of the instrument" come from? Ditto: jouer un instrument; play an instrument (engl.).
The fact that I haven't addressed eating and drinking at all so far is, on my part, gross literary neglect. Completely equal to dancing, singing and making music, they are just as inconceivable apart from celebration, just as much a thing that makes us human. Celebration equals being human. Unlike the Feierabend, which in the quotidian and weekly existential cycle returns "just like that" like going to bed, Feste (festivities, pl.) have a longer lead time of several days to several weeks. This longer lead time allows one to jump from a longer run-up to a higher climax. The annually cyclical nature of the seasonal year lends itself well to providing reference points to this.
A festivity is a festivity when everyone is "involved", when everyone present "makes" the festivity a festivity. This is where it differs from a consumption event. Consuming something is not participation enough. Participation as an exchange of feelings and as a commitment to the festive society. That already starts with the lead time. For me, engagement means agreeing together on the object of celebration (in East Asia this is traditionally the autumn harvest season, the New Year and the ancestral legacy; for the latter, see #^Obon), engaging with it especially emotionally, finding our personal contribution to the appropriate mood and then contributing it. As a broadly anchored tradition, Fasnacht (carneval) perhaps comes closest to this in Central Europe, when participants sew the costumes themselves and join in Cliques and Guggen (marching bands), or the "Tanzfeste" in Switzerland until around 1800 which may have sounded like for example the Löckler-Tanz recorded by Tritonus and whose spirit may have survived into the youth movements of the 1980s and 90s. Non-consumerist folk festivities of more recent date sometimes manifest themselves as neighbourhood festivals and festivals of squatted houses and wagon squares — I am grateful to have experienced real folk festivities in Central Europe as well, not only in East Asia and in Italy. Size does not matter after all.
#^Pungmul, #^Eisa and #^Wadaiko are indivisibly linked to festivities that are shared by the entire local population. I feel a strong certainty within me that the most fitting way to be able to live these traditions with our tr'ensemble group here in Europe is by organising our own annual Fest as a group. In this way, we can naturally inspire those around us to "be involved". Eating, drinking, dancing, singing and making music together outside, welcoming everyone: A celebration wants no exclusion. We have already agreed in the group what we want to celebrate in the tr'ensemble Fest: A year of growing together as a group, sharing sweat and feelings, learning from each other.
That festivities happen in this way, and that it has been so since immemorial time that humanity needs festivities to be human, all this is shown to me by the image presented at the top of this text which originates from the last days of the kingdom of Elam (620-580 BC), to which Eurasia, North and East Africa owe their musical legacy to a considerable extent. To save humanity from its loss of self: The raison d'être of tr'ensemble. "Simply (so)!"
We are delighted to be playing this year at the Perspektivenwechsel cultural festival on 18 September in Basel's St Johannsvorstadt, which is taking place at the originally planned time of our own festival. The fact that there will therefore be no tr'ensemble Fest organised by ourselves this year also leaves me with a feeling that we are depriving the course of events of something quite essential. Next year we will definitely have our festival again.
CC BY_SA 4.0 韓 山 Han_San
Raw text fragment for "Drumming together".
Source of image: Bo Lawergren, "MUSIC HISTORY i. Pre-Islamic Iran," Encyclopædia Iranica, online edition, 2016, available at (accessed 19 May 2016).
#mywork #mywork #philosophy.
The interaction with my counterpart, with my group, with my environment becomes deeper, with a lasting effect, the more I draw not only from the general, social, cultural, but also from my own, personal resources or even work on them, develop them further.
But how do I become aware of my own resources? By going deeper and deeper in the dialogue with my counterpart, by leaving the surface, by fully accepting what is unknown or unfamiliar to me, which the counterpart offers me, by taking it into my heart, by finding points of contact, by trying to taste its "flavor". In this way, my counterpart becomes a mirror in which I recognize my own resources, at this distance from her/him, which I hold in abeyance. Once I have recognized them, I can work on them, refine them, expand them, supplement them, get what I lack from the other person, give her/him trust.
In such a holding in abeyance of the distance with my life partner I have recognized that my resources derive from the experiences of my ancestors of living in the mountains. The barren nature and the unpredictability of storms, landslides, rockfalls and avalanches have inscribed a need for security in the thinking and acting that I observe in myself, but also in my ancestors. In addition, a fundamental skepticism towards man-made innovations, since these seem insignificant in the face of the mighty mountains. Also a closedness.
With my partner, on the other hand, whose ancestors went through the Korean War and the reconstruction afterwards, I perceive a natural readiness to let go of everything, to leave it behind, a strong trust in solidarity, an absence of hesitation.
Now I am not interested in playing off one against the other. Rather, I want to grow from this realization. I would like to bring together the qualities of both resources, let them fertilize each other. Not only in the pairing with my partner, but also in myself. To grow as a person. So that I can offer richer, more finely differentiated personal resources in the interaction with my environment.
Symbolism helps to make something clear, as a sign to me and to my environment: "(You) be aware, (I) be aware, I am working on myself, I have opened a new chapter in growing". For this, the symbols names and masks lend themselves to me. Masks lend themselves to experimentation because I can put them on and take them off at fairly short notice. Masks are about putting myself in another character's shoes, exploring that character, experiencing what it does to me when I try to be the other character. Anonymity should not be the goal, ever. The task of the mask is solely to make it outwardly visible that I am another character right now. The embodiment of the character through the mask, that is my goal in choosing the mask. It can be just a hat, just a makeup, just a piece of clothing. I always have to be aware of the fact that putting it on and taking it off changes something. I get the desire to go in search of masks and characters.
Names, unlike masks, have no fixed temporality. Their validity always remains somehow, even if an old name is to be replaced by a new one. After all, society knows to which person the old name belongs. As a person, I have pseudonyms and artist names. If I want to grow personally and character-wise, I choose one and make it public. While doing so, I need to get clear about in which direction I want to grow. I have chosen 韓 山 Han_San. 韓 Han stands for my partner, for her ancestors, for Korea. 山 San stands for the mountains where my ancestors and I grew up. With the underscore, I only fix the order [surname]_[first name], because the elements can also serve as surname and first name.
With the adoption of this artist name I want to find out how I can expand my settledness, serenity, calmness with an unconcern, with trust in the carrying power of the waves of the environment, with a general state of being included. In particular, I want to gain the ability to let go, the trust in being carried by the environment, which I am already exploring with the dance / musical bodywork (shaking and shelving exercises), also in my handling of feelings, which up to now has been very uptight, tense, repressed, inarticulate. I would like to advance this examination in my roles as a life partner, as a tr'ensemble musician and dancer, as a trainer of the #^tr'ensemble training and with first attempts at writing. The idea is to reflect the experiences mentally, to bring them into textual form and to publish the output at the end as a book (whose working title is "Drumming Together"). In order to involve my environment in this process, I publish my text fragments in rough versions on #^https://labonneheure.ch/channel/emanuel&cat=Drumming+Together immediately after writing.
Barren of all defensive shields, vulnerable as a caterpillar, I plunge into a new self to mature and blossom as 韓 山 Han_San.
CC BY_SA 4.0 韓 山 Han_San
Raw text fragment for "Drumming Together"