Rhythm in Communication LO23829

From: AM de Lange (amdelange@gold.up.ac.za)
Date: 01/26/00

Replying to LO23812 --

Dear Organlearners,

Winfried Deijmann <deijmann@dialoog.net> writes to Bruno:

>The problem with At's seven essentials is the fact that they
>only EXPLAIN the seven essentials. At's message is:
>"Experience them".

Greetings Winfried,

You have said it!

May I add that our experiences should involve both too little of an
essentiality (which leads to a destructive emergence) and enough of it
(which leads to a contsructive emergence). We experience more than enough
destructive immergences so that we need not plan for more of them. We
rather ought to transform these immergences already experienced into
emergences by trying to fathom which essentiality was impaired and then
fix it sufficiently.

>Permit me to be a stern teacher for a moment please.
>The understanding you are seeking can not be found in more
>explanation on the topic. Your Aikido master gave you a
>message: "When I do Aikido I EXPERIENCE Aikido and I am
>at the very heart of it. When I talk about it I am "on my own",
>meaning: disconnected from the source." Your teacher is
>an excellent master and he is right: He doesn't know anything
>anymore, because it has all become an integrated part of him.

Again you have said it.

May I add that life is too short to experience self all of complexity
self. Thus we can learn much from the authentic experiences (not
explanations) of fellow humans. The problem is that these experiences of
fellow humans have to be communicated. We have a saying in my mother
tongue that between the hand and the mouth the food falls on the ground --
much can get lost in the transfer..

Experience itself gives a powerful understanding of the seven

Liveness ("becoming-being"): Experiences reveal our becoming. Without them
we are but liveless beings.

Sureness ("identity-categoricity"). Experiences categorise our identity.
Without them we are unsure about our identity.

Wholeness ("monadicity-associativity"). Experiences signal that we as
monads fit into greater wholes. Without them we lose the associativity
among wholes in a greater whole.

Fruitfulness ("connect-beget"). Experiences are fingerprints of our
effective contact with the world outside us. Without them and thus the
contact, tacit knowledge cannot emerge within us.

Spareness ("quantity-limit"). Experiences feed our spiritual growth.
Without them our growth stagnates.

Otherness ("quality-variety"). Experiences create diversity within the
spirituality of each of us. Without them we become one-track minded

Openness ("open-paradigm"). Experiences open us to paradigm shifts.
Without them there is no inner evolution and thus any possibility to
beacome humane.

>When he is doing Aikido he IS Aikido; just look at the
>beauty of his movements and it is all there. His theory has
>become embodied practice. All talking about it is only
>disturbing. That is what I think he meant.

Perhaps you have stressed the "all" in "all talking" too much or I have
read too much in it. So let us look at what your wrote next:

>The next time when you walk an Aikido sequence forget
>the techniques you have learned and the mental pictures
>in your head. Trust your body, arms and legs, because
>then they will move you, instead of you moving them.

The tacit idea here I believe is to sustain your creativity. It took me
along time to (up to now) identify five elementary sustainers of
creativity. They are
Dialogue D
Problem-Solving PS
Game-Playing GP
Exemplar-Studying ES
Art-Expressing AE

Perhaps there are a few more which satisfy the stringent requirements
which I used to identify them. People of all times (even the ancients),
cultures (even the San) and ages (especially kinds) should participate in
them. Life forms, other than humans, for example mammals, should also
manifest them, even though in lesser degree.

When talking is focussed on the dialogue, it is not disturbing, but rather
sustaining our creativity. It is also possible, but not common, to use
language as the principal mode in the other four sustainers.

For example, consider Problem-Solving PS and the problem of "How do we
care?" The word "care" comes form the Saxon word "caru" which mean "take
together to the same destination". To care is to know that despite our
differences in being and becoming, we have to accomodate one another.
Jesus' parable of the Caring Samaritan illustrates this beautifully.

Sometimes during a lecture a rare moment of "playing with words" will
emerge. I wish every lecture could have many such moments. Although
students and lecturer still focus on the topic, they create with
delightful finesse also a picture on quite a different walk of life,
showing the extraodinary correspondences within the walks of life.
Sometimes it works in my family too.

As for Exemplar-Studying, what I now have been doing, ought to serve as an

Art-Expressing. More than enough writers have demonstrated that language
in prose and poem can become exquisite art. The experience of using
language as an art, [i.e, when grammer, theory, form and such things join
with meaning, pratice, content and similar things to produce rhythms which
capture the most secluded corners of the soul] is priceless. Eventually
someone succeeds in fixing a price to what is priceless so as to make such
art banal for the uninformed.

Winfried, to conclude, when you wrote "they will move you, instead of you
moving them", it means for me that we need the elementary sustainers of
creativity to move our creativity rather than they "needing us" to show
how our creativity "moves them". But perhaps this is not what you meant to
say. Let me know.

With caring and best wishes


At de Lange <amdelange@gold.up.ac.za> Snailmail: A M de Lange Gold Fields Computer Centre Faculty of Science - University of Pretoria Pretoria 0001 - Rep of South Africa

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