Visits in the process,
reporter discovered that
the enterprise to provide the pension,
handles fairly the school is defers to the Institution
the managed by the people backbone teacher
to handle fairly the school,
outflow the phenomenon.
This is also without doubt
a headache about the matter,
Liu Xu Wu Jiu but self-ridiculed very much,
“the prominent teacher to train the base” nearly.
At present, lets Liu Xu military
but is the school treatment quite good
after retiring, not such a matter
because the present related
handles fairly the teacher,
caused this school teacher enormously not to be unstable.
speaks the truth, many people choose teacher
this profession are a chart
calmness and steadiness
The military name, in recent years,
handled fairly the school
the gradual expansion,
the teachers who many big strengths
to choose flows returned to the human
who many city school need longer hold office
Monday, July 12, 2010
Thursday, July 8, 2010
Gardens
Everyone is a garden
As a day moves along
We move through our gardens
Some people have trees with round leaves
Tiny austere asters
And brilliant purple irises
Some people’s gardens
Have plants with pointy leaves and rare flowers
Roses form a seductively ornamented barrier
Sometimes people surprise us
With showers of soft blossoms
Light blue on downy fragrant petals
Some people seem to bear only fruit
Their gardens have no room
For frivolous flowers and foliage
Some people are like a field of sunflowers
Brightening the air with yellow petals flashing
Some people’s gardens are vinous
Their tendrils need frequent pruning
Occasionally these vines bear fruit
What is my garden like?
Most of the time, a cool meadow of mint
But you must look closer
Beneath the mint, strawberries
Be careful of gathering too hastily
Sometimes thorny briers grow
At night no light in the garden
No plants are seen
As the earth shifts its bed of seeds
As a day moves along
We move through our gardens
Some people have trees with round leaves
Tiny austere asters
And brilliant purple irises
Some people’s gardens
Have plants with pointy leaves and rare flowers
Roses form a seductively ornamented barrier
Sometimes people surprise us
With showers of soft blossoms
Light blue on downy fragrant petals
Some people seem to bear only fruit
Their gardens have no room
For frivolous flowers and foliage
Some people are like a field of sunflowers
Brightening the air with yellow petals flashing
Some people’s gardens are vinous
Their tendrils need frequent pruning
Occasionally these vines bear fruit
What is my garden like?
Most of the time, a cool meadow of mint
But you must look closer
Beneath the mint, strawberries
Be careful of gathering too hastily
Sometimes thorny briers grow
At night no light in the garden
No plants are seen
As the earth shifts its bed of seeds
Tuesday, May 12, 2009
Slingshots, Plans, and Criticism
In the study of writing, sometimes called poetics, one thing to keep in mind is that speaking came before writing. Writing was invented for practical reasons, mostly related to business and bureaucracy, and only later was adapted for the recording of stories.
So why do we speak? There are countless reasons. Among them: we speak to share information, to cross reference our thoughts and beliefs with other people’s thoughts and beliefs, to externalize judgments, initiate actions, and to entertain.
Defensive. It’s an adjective we attach to people we are afraid to criticize. Why are some of us, myself included, afraid of judgment? Judgment or criticism is an implicit attack on someone’s life choices or lifestyle. In America, we put a great amount of weight on our ability to independently manage our lives. No one is perfect, however, and we can only pay attention to so many things at once. That is why we are inclined to accept criticism, but only when it is offered politely.
There is a Chinese tale about a prince who decides to go to war. The prince is reported to have said: “Anyone who criticizes [my plan] dies.” One of his vassals wants to criticize his decision to go to war, so he walks in the garden three days to meditate on the issue. When he returns from the garden, he tells the prince “in the garden there is a tree, and on the tree is a cicada, singing away. Next to the cicada is a praying mantis, bending its body, about to eat the cicada. Behind the praying mantis is a bird, stretching out its neck, about to eat the praying mantis. Beneath the bird is me with my slingshot, about to shoot the bird. Now each of these creatures sees the profit in front of it and is blind to the danger beside it.”
This story addresses one of the functions of criticism: to reveal to someone an aspect of their environment that they didn’t account for in their plans. The art of war says that one relates all of the factors of ones situation using planning, and in that way one may understand any given situation. It also says that planning is profitable only when one is a good listener.
The tale about the cicada and the mantis represents a kind of courtesy. Criticism is, in a sense, a kind of posture. The vassal can not be in the position of “critic” in relation to the prince. Likewise, in friendships, people have different expectations about how they should relate. With some of my friends, it is a relationship of mutual support and encouragement. With my brother, however, things sometimes lapse into criticism. This is because of the age and intimacy of our relationship: we feel comfortable calling each other out because we know that tomorrow we will still be brothers. Relationships may be said to have a vocabulary of postures that depend on factors of intimacy, gender, age, and culture.
So why do we speak? There are countless reasons. Among them: we speak to share information, to cross reference our thoughts and beliefs with other people’s thoughts and beliefs, to externalize judgments, initiate actions, and to entertain.
Defensive. It’s an adjective we attach to people we are afraid to criticize. Why are some of us, myself included, afraid of judgment? Judgment or criticism is an implicit attack on someone’s life choices or lifestyle. In America, we put a great amount of weight on our ability to independently manage our lives. No one is perfect, however, and we can only pay attention to so many things at once. That is why we are inclined to accept criticism, but only when it is offered politely.
There is a Chinese tale about a prince who decides to go to war. The prince is reported to have said: “Anyone who criticizes [my plan] dies.” One of his vassals wants to criticize his decision to go to war, so he walks in the garden three days to meditate on the issue. When he returns from the garden, he tells the prince “in the garden there is a tree, and on the tree is a cicada, singing away. Next to the cicada is a praying mantis, bending its body, about to eat the cicada. Behind the praying mantis is a bird, stretching out its neck, about to eat the praying mantis. Beneath the bird is me with my slingshot, about to shoot the bird. Now each of these creatures sees the profit in front of it and is blind to the danger beside it.”
This story addresses one of the functions of criticism: to reveal to someone an aspect of their environment that they didn’t account for in their plans. The art of war says that one relates all of the factors of ones situation using planning, and in that way one may understand any given situation. It also says that planning is profitable only when one is a good listener.
The tale about the cicada and the mantis represents a kind of courtesy. Criticism is, in a sense, a kind of posture. The vassal can not be in the position of “critic” in relation to the prince. Likewise, in friendships, people have different expectations about how they should relate. With some of my friends, it is a relationship of mutual support and encouragement. With my brother, however, things sometimes lapse into criticism. This is because of the age and intimacy of our relationship: we feel comfortable calling each other out because we know that tomorrow we will still be brothers. Relationships may be said to have a vocabulary of postures that depend on factors of intimacy, gender, age, and culture.
Tuesday, January 20, 2009
A recent study
A recent study has shown that the majority of people reading any given article will believe it is true, often to the point where it actually becomes reality. A recent study has tested a number of different kinds of articles to show the interweaving of mind, body and existence. 78% of participants who read an article stating that diet sodas give you the shits suffered from extreme diarrhea after consuming said beverage. An article on male prowess resulted in an incredible synchronicity in the actual mating success of male subjects, which unfortunately ruined the data on the article about STD’s. In an interesting twist, about two thirds of subjects who read about government surveillance actually had their cell-phones monitored by the FBI. The most astonishing data, however, showed that more than three quarters of people will even believe that this article is true.
Wednesday, December 31, 2008
Questions
I recently wondered: what utility does awareness of the absurdity of ones own existence have for the continuation of ones life. I immediately thought of the phenomenon of the descended larynx, which allows us humans to articulate all manner of sounds while giving us a high change of death by choking. The sort of existential crisis, if might call it that, is akin to this risk of choking death. The awareness of absurdity is a harmful side effect of a the aparatus of understanding, which allows us to avoid becoming victims of our circumstances and manipulate complex situations in our favor. This realization enabled me to act in a favorable way with regard to the realization of the absurdity of my own existence: I stopped thinking.
Tuesday, October 21, 2008
The language that can be spoken of is not the eternal language
Early investigations into Kabbalah left me wondering: what is hidden inside a word? English words, while capable of manifesting complex structures through long strings of themselves, didn’t seem to hold much mystery. Chinese characters, on the other hand, seemed like windows into different worlds. Therefore, before my interest in philosophy turned me totally into a biologist, my interest in language turned me into a sinologist.
There was a pair of books that shaped my views considerably: Sex and Temperament by Margaret Mead, and The Labyrinth of Solitude by Octavio Paz. Margaret Mead showed me the dynamic interplay between societies, their geo-political circumstances, and the psychology of the people that constitute them. Paz showed me the beauty of language and its ability to contain the soul of a people and sing it forth. My theory at this time was largely based on Mead, Focault, Ginzburg (the historian not the poet), and Zen Buddhism.
As I delved deeper and deeper into sinology and the study of the Chinese classics, I became enamored both with equality of expressiveness of all natural languages, and the peculiarities of culture and language usage. It took a long time to get used to the idea that, when someone compliments me in mandarin, I should respond: “where? Where?” In my studies of linguistics, I was constantly annoyed by the emphasis placed on grammar. Why did this frustrate me?
In my communications class, we learned that 60% of conveyed meaning is non-verbal. Does non-verbal necessarily mean non-grammatical? No systematic theory of non-verbal communication has arisen because it is an extemporaneously generated physical/tonal expression of a unique semantic environment. There are, however, cultural guidelines that we all instinctively know about non-verbal communication. In China, the fixation on “rites” permeates nearly all of ancient philosophy. A culture where “every smile and bow” is timed perfectly represents a firmly structured grammar of non-verbal communication. Rites, however, are an aspect of Chinese high-society, and in most cultures, indeed, it is only in places where uniformity is necessary that adherence to such rules is a must. The rest of us (common folk) only follow basic cultural guidelines as we strut and slide our way toward mutual understanding.
Look at the Chinese word Qi:
Qi is translated into English in a notoriously nebulous way: energy. It also means “weather” or “anger” or “breath”. There’s a problem that occurs when this word is translated into English. Many English speakers are used to nouns like “energy” referring to a single thing like electricity or sound waves or crowd fervor. The problem with this is that the Chinese word also refers to circulation, the nervous system, the weather, sunlight, moods etc. Why a single word for all this? Well, when one of these things is affected, all the others respond. This is, of course, a philosophical interpretation of Qi which made its way into English through the appropriation of Chinese traditional medicine; otherwise, it simply means “angry,” or “weather” etc. The word Qi, taken in isolation, refers to a whole vein of existence. When used grammatically, however, it rests on a single meaning.
Then look at dialects: there’s no such thing as incorrect language. If you are a native speaker of a language, everything you say when you speak that language is correct. This does not mean, however, that someone will understand you. Grammar is the means by which words are structured to create meaning, and as such it is a specialized tool of communication in general. Words, however, are only the tip of the iceberg. The rest of communication will forever stay buried beneath the ocean, floating uncontrolled, unless submerged by etiquette, courtesy, and ritual, and thereby atrophied, its creative powers dissolved.
Social structure and linguistic structure are similar entities. They exist to facilitate social cohesion and interaction. These structures settle into our bodies, destroy our forests, pave our earth, house our brothers and sisters, give children the space to grow and express themselves, limit our wants and capabilities, and give purpose to our lives. The poetic spirit resists these things, breaks free of language into visual performance, restores nature or preserves it, decries purpose and wanders the land, looks past the words a person speaks and into their heart.
“The name that can be named is not the eternal name. As for the nameless: that is the beginning of heaven and earth.” –Dao De Jing
There was a pair of books that shaped my views considerably: Sex and Temperament by Margaret Mead, and The Labyrinth of Solitude by Octavio Paz. Margaret Mead showed me the dynamic interplay between societies, their geo-political circumstances, and the psychology of the people that constitute them. Paz showed me the beauty of language and its ability to contain the soul of a people and sing it forth. My theory at this time was largely based on Mead, Focault, Ginzburg (the historian not the poet), and Zen Buddhism.
As I delved deeper and deeper into sinology and the study of the Chinese classics, I became enamored both with equality of expressiveness of all natural languages, and the peculiarities of culture and language usage. It took a long time to get used to the idea that, when someone compliments me in mandarin, I should respond: “where? Where?” In my studies of linguistics, I was constantly annoyed by the emphasis placed on grammar. Why did this frustrate me?
In my communications class, we learned that 60% of conveyed meaning is non-verbal. Does non-verbal necessarily mean non-grammatical? No systematic theory of non-verbal communication has arisen because it is an extemporaneously generated physical/tonal expression of a unique semantic environment. There are, however, cultural guidelines that we all instinctively know about non-verbal communication. In China, the fixation on “rites” permeates nearly all of ancient philosophy. A culture where “every smile and bow” is timed perfectly represents a firmly structured grammar of non-verbal communication. Rites, however, are an aspect of Chinese high-society, and in most cultures, indeed, it is only in places where uniformity is necessary that adherence to such rules is a must. The rest of us (common folk) only follow basic cultural guidelines as we strut and slide our way toward mutual understanding.
Look at the Chinese word Qi:
Qi is translated into English in a notoriously nebulous way: energy. It also means “weather” or “anger” or “breath”. There’s a problem that occurs when this word is translated into English. Many English speakers are used to nouns like “energy” referring to a single thing like electricity or sound waves or crowd fervor. The problem with this is that the Chinese word also refers to circulation, the nervous system, the weather, sunlight, moods etc. Why a single word for all this? Well, when one of these things is affected, all the others respond. This is, of course, a philosophical interpretation of Qi which made its way into English through the appropriation of Chinese traditional medicine; otherwise, it simply means “angry,” or “weather” etc. The word Qi, taken in isolation, refers to a whole vein of existence. When used grammatically, however, it rests on a single meaning.
Then look at dialects: there’s no such thing as incorrect language. If you are a native speaker of a language, everything you say when you speak that language is correct. This does not mean, however, that someone will understand you. Grammar is the means by which words are structured to create meaning, and as such it is a specialized tool of communication in general. Words, however, are only the tip of the iceberg. The rest of communication will forever stay buried beneath the ocean, floating uncontrolled, unless submerged by etiquette, courtesy, and ritual, and thereby atrophied, its creative powers dissolved.
Social structure and linguistic structure are similar entities. They exist to facilitate social cohesion and interaction. These structures settle into our bodies, destroy our forests, pave our earth, house our brothers and sisters, give children the space to grow and express themselves, limit our wants and capabilities, and give purpose to our lives. The poetic spirit resists these things, breaks free of language into visual performance, restores nature or preserves it, decries purpose and wanders the land, looks past the words a person speaks and into their heart.
“The name that can be named is not the eternal name. As for the nameless: that is the beginning of heaven and earth.” –Dao De Jing
Thursday, May 8, 2008
Li Style
The following text is Han Fu, a style of poetry popular during the Han dynasty. It is basically praising the elegance of Li style script, which is the transitional script between ancient and modern script. The origin of Li is the simplification of writing through changes in medium brought on by a shift in the demographic of writers from royal scribes to common scribes. This shift is correlated with a great increase in the amount of people writing. This poem is written after Li shu has become mainstream and ceased to be looked down as a corruption.
Cheng Gongsui: Li Style
Huangjie created writing
from the objects of his thoughts
he looked at those bird tracks
and the tracks became characters
How brilliantly writing manifested
the writings passing down
containing the way and virtue
encompassing the ten thousand things
Everyday writing and records
was the job of scribes and clerks
time changed and the craft was simplified
marking a distinction between old and new
Insect script was already complex
when cursive disguised it
but as for the golden mean
none of them fits like Li
The tools of li are like carpenters tools
simple and easy to use:
In following change and moving easily
there is also tension and relaxation
hold the brush, let go of the ink,
carefully guard the tip of the brush.
Brilliant and glowing, rising and pressing down
shape and style, lifting up and sinking down
connected like a flower to its fragrance
space opens up as characters spread out
Bright like the shining expanse of heaven
in luxuriant embroidery you will find this standard
You may lightly stroke
and gently raise the brush
or you may slowly press down
and rapidly arouse the brush
pulling horizontal, pulling vertical
left leads and right coils
long swells lead to lush strokes
and minute movements like hovering mist
This skill is difficult to transmit
those who are good are few
hand and heart must work as one
and the heart must know its purpose
With subtle movements of the fingers
and gentle rising of the wrist
grasp the white silk
dye it black with writing
The red bamboo shaft becomes lightning
rain falls and hail scatters
dots rest, flip over, and rise up
pulling down in peaceful domination
A great diverse web
unraveling all kinds of colors
that shine forth and then are veiled
in extraordinary smoke
how vast and great!
and how playful it is to write so intricately
This practice is patterned after the luxuriant way of the Zhou
and expresses the brilliance of Yu
Ba fen and seal script,
each has its own beauty and technique
divide white with flowing black
and it is like scattered chess pieces or stars in the sky
heads lift up and tails curl
vertical strokes reign in irregular strokes
this romance produces a style
like the careful stitching of a suit
Some styles are like coiled dragons roaming,
they wriggle and twist in the sky
and phoenixes soaring up above
about to fly away on strong wings
some are birds of prey about to strike
this style presses down with forceful strength
and then, like a fine steed
gallops away
freely
boldly
yet always on the road
If you look up and gaze at it from afar
its lush appearance is like high clouds and rising mist
wandering smoke continuous with clouds
If you look down and inspect it
its beauty is like a cool breeze on rushing water
and in the ripples patterns form
For cascading forms to manifest style
you must have a model and a standard
the shape and movement are hard to explain
so I roughly bring up the cardinal points.
Cheng Gongsui: Li Style
Huangjie created writing
from the objects of his thoughts
he looked at those bird tracks
and the tracks became characters
How brilliantly writing manifested
the writings passing down
containing the way and virtue
encompassing the ten thousand things
Everyday writing and records
was the job of scribes and clerks
time changed and the craft was simplified
marking a distinction between old and new
Insect script was already complex
when cursive disguised it
but as for the golden mean
none of them fits like Li
The tools of li are like carpenters tools
simple and easy to use:
In following change and moving easily
there is also tension and relaxation
hold the brush, let go of the ink,
carefully guard the tip of the brush.
Brilliant and glowing, rising and pressing down
shape and style, lifting up and sinking down
connected like a flower to its fragrance
space opens up as characters spread out
Bright like the shining expanse of heaven
in luxuriant embroidery you will find this standard
You may lightly stroke
and gently raise the brush
or you may slowly press down
and rapidly arouse the brush
pulling horizontal, pulling vertical
left leads and right coils
long swells lead to lush strokes
and minute movements like hovering mist
This skill is difficult to transmit
those who are good are few
hand and heart must work as one
and the heart must know its purpose
With subtle movements of the fingers
and gentle rising of the wrist
grasp the white silk
dye it black with writing
The red bamboo shaft becomes lightning
rain falls and hail scatters
dots rest, flip over, and rise up
pulling down in peaceful domination
A great diverse web
unraveling all kinds of colors
that shine forth and then are veiled
in extraordinary smoke
how vast and great!
and how playful it is to write so intricately
This practice is patterned after the luxuriant way of the Zhou
and expresses the brilliance of Yu
Ba fen and seal script,
each has its own beauty and technique
divide white with flowing black
and it is like scattered chess pieces or stars in the sky
heads lift up and tails curl
vertical strokes reign in irregular strokes
this romance produces a style
like the careful stitching of a suit
Some styles are like coiled dragons roaming,
they wriggle and twist in the sky
and phoenixes soaring up above
about to fly away on strong wings
some are birds of prey about to strike
this style presses down with forceful strength
and then, like a fine steed
gallops away
freely
boldly
yet always on the road
If you look up and gaze at it from afar
its lush appearance is like high clouds and rising mist
wandering smoke continuous with clouds
If you look down and inspect it
its beauty is like a cool breeze on rushing water
and in the ripples patterns form
For cascading forms to manifest style
you must have a model and a standard
the shape and movement are hard to explain
so I roughly bring up the cardinal points.
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