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dust_and_shadow:spell_of_the_sensuous [2019-08-28 17:26] – created maja | dust_and_shadow:spell_of_the_sensuous [2019-08-30 08:47] (current) – maja | ||
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- | ==== [excerpts] The Spell of The Sensous ==== | + | < |
+ | Grandiose guilt will not do; we need to learn to notice what we were blind to, a humble but difficult art. (...) [L]earning this art also means allowing oneself to be touched and induced to think and imagine by what touches us. | ||
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- | David Abram | + | ---- |
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+ | ==== The Spell of The Sensous ==== | ||
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+ | Excerpts from // | ||
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+ | ---- | ||
Caught up in a mass of abstractions, | Caught up in a mass of abstractions, | ||
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+ | [...] | ||
When my body thus responds to the mute solicitation of another being, that being responds in turn, disclosing to my senses some new aspect or dimension that in turn invites further exploration. By this process my sensing body gradually attunes itself to the style of this other presence-to the way of this stone, or tree, or table-as the other seems to adjust itself to my own style and sensitivity. | When my body thus responds to the mute solicitation of another being, that being responds in turn, disclosing to my senses some new aspect or dimension that in turn invites further exploration. By this process my sensing body gradually attunes itself to the style of this other presence-to the way of this stone, or tree, or table-as the other seems to adjust itself to my own style and sensitivity. | ||
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+ | [...] | ||
Whenever I quiet the persistent chatter of words within my head, I find this silent or wordless dance always already going on this improvised duet between my animal body and the fluid, breathing landscape that it inhabits. | Whenever I quiet the persistent chatter of words within my head, I find this silent or wordless dance always already going on this improvised duet between my animal body and the fluid, breathing landscape that it inhabits. | ||
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+ | [...] | ||
If we listen, first, to the sounds of an oral language—the rhythms, tones, and inflections that play through the speech of an oral culture-we will likely find that these elements are attuned, in multiple and subtle ways, to the contour and scale of the local landscape, to the depth of its valleys or the open stretch of its distances, to the visual rhythms of the local topography. (...) Human language arose not only as a means of attunement between persons, but also between ourselves and the animate landscape. (...) By denying that birds and other animals have their own styles of speech, by insisting that the river has no real voice and that the ground itself is mute, we stifle our direct experience. | If we listen, first, to the sounds of an oral language—the rhythms, tones, and inflections that play through the speech of an oral culture-we will likely find that these elements are attuned, in multiple and subtle ways, to the contour and scale of the local landscape, to the depth of its valleys or the open stretch of its distances, to the visual rhythms of the local topography. (...) Human language arose not only as a means of attunement between persons, but also between ourselves and the animate landscape. (...) By denying that birds and other animals have their own styles of speech, by insisting that the river has no real voice and that the ground itself is mute, we stifle our direct experience. | ||
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- | < | + | {{>http://www.flickr.com/photos/deziluzija/ |
- | Grandiose guilt will not do; we need to learn to notice what we were blind to, a humble but difficult art. (...) [L]earning this art also means allowing oneself to be touched and induced to think and imagine by what touches us. | + | |
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- | </blockquote> | + | |
+ | ---- | ||
< | < |