Yes but have you ever heard or felt one? Without vision would you exist? Without perception would there be George?
REH ----- Original Message ----- From: "Harry Pollard" <[EMAIL PROTECTED]> To: "Ray Evans Harrell" <[EMAIL PROTECTED]>; "futurework" <[EMAIL PROTECTED]>; "Darryl and Natalia" <[EMAIL PROTECTED]>; "Keith Hudson" <[EMAIL PROTECTED]> Cc: "Daniel Ferro" <[EMAIL PROTECTED]>; "Warfield, John & Rose" <[EMAIL PROTECTED]> Sent: Monday, June 09, 2003 6:14 PM Subject: Re: [Futurework] RE: But where's the mind? > Ray, > > Enough of that already! > > I've never seen a consciousness. If I had and was the only one to see it, > my observation might be subjective. If everyone sees it, then it's objective. > > Harry > > ------------------------------------------------------------- > > Ray wrote: > > >Keith, > >Just a thought from my own world here. The Arts as opposed to academic > >thought is concerned with the body as a whole instrument. Consciousness > >is a working concept rather than a mechanical or as Harry would say, an > >Object-ive reality. We are alive and in flux and it is in doing that > >flux that we attain mastery. On the other hand Object-ive reality is > >digital (again a "working" concept) that stops time in order to examine > >something visually. > > > >Those of us who work with sound know that is an impossibility even in the > >sound studio where we can do some rather amazing things digitizing sound > >waves but still cannot separate an oboe from a voice once they are > >"mixed." Eventually they will figure that out. That object-fying or > >digit-izing is what in the art is called "consciousness". The > >"unconscious" or "subconscious" is another working term. Practically it > >refers to action or thought taken from the whole instrument. The > >intuition is the move from the mega (unconscious) to the specific > >(conscious). > > > >All knowledge is probably learned with the potential for knowledge being > >genetic. I don't speak much about the brain because it is constantly > >changing as is the information about such things as the muscles. I do > >like Pribram's theories about "holism" because it conforms to my > >experience of thinking from different parts of the organism. You can't > >"think" from the brain, you with to experience the whole and the whole > >speaks from its parts dependant upon the action needed. You "Think" with > >you hands if you are a pianist and with your intellect. With the > >articulation of your instrument if you are a dancer and with your > >intellect. With the voice and breath if you are a singer and with your > >intellect. All of the above integrates the emotion as well. > > > >Not long ago, incorrect information from science, about the way that > >muscles worked, destroyed a whole generation of singers who tried to > >conform to the latest "scientific knowledge" which were just theories and > >inappropiate to build a person's life and technique on. We had the same > >thing happen with the theories of thermodynamics which were supposed to be > >the way the body worked with the breath but which again was far too simple > >to support anything as complex as vocal technique, except for choir > >singers. Science has ruined pianists hands and many singers voices with > >their latest discoveries that were just someone's desire to get fame by > >publishing their theories. > > > >We can't build lives and careers on fantasies. We work from practical > >experience and from the heritage of language and practice. So we find > >the concepts of consciousness to be useful. Although if another word > >appeared tomorrow that was more useful we would abandon it. There is a > >third phase which Donald Schoen has termed "Reflection in Action" which is > >a type of awareness during action that is only the realm of the > >masters. That means that you are able to be totally aware of your > >instrument both in an act of specific control and intuitive trust that > >becomes an information loop. Generally, with the average professional > >it is an act of thinking before doing and then abandoning themselves to > >the action without thinking except at specific practiced > >points. Gradually over the years you "become" the music so completely > >that there is no distinction between thought and action and that is > >"reflection in action." A flawed concept but a step forward > >maybe. Indian people with the four directional learning process and the > >seven layered spiral of growth are the closest in their pedagogy to what > >artists experience in learning with their bodies that I find > >complete. But those processes are over a thousand year old. I suspect > >that there is a better explanation but science has not come up with it to > >date. Certainly digital thought and physical exploration is no answer > >thus far anymore than they can explain the coordination of a concert > >pianist or the act of love. > > > >Ray Evans Harrell > > > > > > > **************************************************** > Harry Pollard > Henry George School of Social Science of Los Angeles > Box 655 Tujunga CA 91042 > Tel: (818) 352-4141 -- Fax: (818) 353-2242 > http://home.attbi.com/~haledward > **************************************************** > > ---------------------------------------------------------------------------- ---- > > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.486 / Virus Database: 284 - Release Date: 5/29/2003 > _______________________________________________ Futurework mailing list [EMAIL PROTECTED] http://scribe.uwaterloo.ca/mailman/listinfo/futurework
