Uploaded 18 August 2010 by chasefukuoka61
I’m including the YouTube “About” description, because the excerpt of “Joyous Cosmology” arrived so synchronously! I’ve been studying the leaf color of my acorn squash in milk crates, trying to determine if those plants really need to go in the ground for more consistent moisture levels, and can I safely get them into the ground at this stage when they’re already flowering and bearing fruit? I do love how Alan Watts messages particularly tend to lend themselves towards synchronous winks:
What does it mean, to awaken? A short movie narrated by Alan Watts…
“So then, here’s the drama. My metaphysics, let me be perfectly frank with you, are that there is the central Self, you could call it God you could call it anything you like. And its all of us. Its playing all the parts of all beings whatsoever everywhere and anywhere.
And it’s playing the game of hide and seek with itself. It gets lost, it gets involved in the farthest out adventures but in the end it always wakes up, and comes back to itself. And when you’re ready to wake up, you’re gonna wake up. And if you’re not ready your gonna stay pretending that you’re poor little me.”
with background music by Kitaro- “Endless Water” and “Tree” from his album “Ki”….
Recommended reading – The Joyous Cosmology, by Alan Watts
“T0 BEGIN WITH, this world has a different kind of time. It is the time of biological rhythm, not of the clock and all that goes with the clock. There is no hurry. Our sense of time is notoriously subjective and thus dependent upon the quality of our attention, whether of interest or boredom, and upon the alignment of our behavior in terms of routines, goals, and deadlines. Here the present is self-sufficient, but it is not a static present. It is a dancing present — the unfolding of a pattern which has no specific destination in the future but is simply its own point. It leaves and arrives simultaneously, and the seed is as much the goal as the flower. There is therefore time to perceive every detail of the movement with infinitely greater richness of articulation. Normally we do not so much look at things as overlook them. The eye sees types and classes—flower, leaf, rock, bird, fire—mental pictures of things rather than things, rough outlines filled with flat color, always a little dusty and dim. But here the depth of light and structure in a bursting bud go on forever. There is time to see them, time for the whole intricacy of veins and capillaries to develop in consciousness, time to see down and down into the shape of greenness, which is not green at all, but a whole spectrum generalizing itself as green — purple, gold, the sunlit turquoise of the ocean, the intense luminescence of the emerald. I cannot decide where shape ends and color begins. The bud has opened and the fresh leaves fan out and curve back with a gesture which is unmistakably communicative but does not say anything except, “Thus!” And somehow that is quite satisfactory, even startlingly clear. The meaning is transparent in the same way that the color and the texture are transparent, with light which does not seem to fall upon surfaces from above but to be right inside the structure and color.
Which is of course where it is, for light is an inseparable trinity of sun, object, and eye, and the chemistry of the leaf is its color, its light. But at the same time color and light are the gift of the eye to the leaf and the sun. Transparency is the property of the eyeball, projected outward as luminous space, interpreting quanta of energy in terms of the gelatinous fibers in the head. I begin to feel that the world is at once inside my head and outside it, and the two, inside and outside, begin to include or “cap” one another like an infinite series of concentric spheres. I am unusually aware that everything I am sensing is also my body — that light, color, shape, sound, and texture are terms and properties of the brain conferred upon the outside world. I am not looking at the world, not confronting it; I am knowing it by a continuous process of transforming it into myself, so that everything around me, the whole globe of space, no longer feels away from me but in the middle. This is at first confusing. I am not quite sure of the direction from which sounds come. The visual space seems to reverberate with them as if it were a drum. The surrounding hills rumble with the sound of a truck, and the rumble and the color-shape of the hills become one and the same gesture. I use that word deliberately and shall use it again. The hills are moving into their stillness. They mean something because they are being transformed into my brain, and my brain is an organ of meaning. The forests of redwood trees upon them look like green fire, and the copper gold of the sun-dried grass heaves immensely into the sky. Time is so slow as to be a kind of eternity, and the flavor of eternity transfers itself to the hills— burnished mountains which I seem to remember from an immeasurably distant past, at once so unfamiliar as to be exotic and yet as familiar as my own hand.”