Eat The Cold [on Merely A Thought Monday]

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“Eat the cold!” the Buddhist monk said to the shivering novice. “Eat the cold.” It is” monk-speak for embracing rather than resisting the circumstances of your life.

Non-resistance. Detachment. Hold your self lightly. Presence. Make no assumptions. Be here now. Every spiritual tradition has language for the lesson. Eat the cold. Have the experience. Suspend your judgment. See what is there, not what you think is there. Feel it without condemnation or praise.

When I was a teenager I went on a trip with a school group. The bus broke down in the mountains. We sat on the side of the road bemoaning the state of our affair. The teacher laughed at us. “We’re on an adventure and this is part of it!” he exclaimed. “Rather than fool ourselves into thinking we are stuck, maybe we should fool ourselves into thinking this is exactly where we should be! What’s here? What can we do and create here?” I remember nothing about the rest of that trip but I do remember how much fun we had on the side of the road.

Kerri’s wrists are broken. We find ourselves on a metaphoric roadside. Our patterns are completely disrupted so we are experiencing the gift of mindfulness. Putting on a coat requires complete attention. Lifting a fork. Combing out her gorgeous naturally curly hair. Buckling a seat belt. We have abandoned all notion of rushing. It happens when it happens. When she plays the piano, she does it with full attention; nothing is taken for granted.

What’s here in this storm? Maybe this is exactly where we should be. Amazed at our friendships, our first walk since the accident with Jen and Brad, the sun and wind, laughter with 20, cooing at the meal Joan made for us, flowers, brownies and wine, crawling under the healing quilt that Janet sewed.

 

read Kerri’s blog post about EVERY STORM 

 

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Bother to Ask A Question [on Flawed Wednesday]

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All of us know this tale: A farmer loses his ax. He saw the neighbor boy playing in his field so he suspects the boy took his ax. He tells his wife the neighbor boy is a thief. The wife goes to town shopping and tells everyone she meets the story of the neighbor boy stealing her husband’s ax. People share the story and the story magnifies. An ax is now the least of the boy’s crimes! They tell other people and when things go missing or worse, the boy is their suspect. If he could steal an ax he could also steal a shirt off the line. He’ll take your horse when you’re not looking! He’s a chronic thief! The boy is shunned. His family is ostracized. The farmer feels satisfaction until the day he finds his ax resting on the tree – right where he’d left it.

Narratives are very, very powerful.

Yesterday I listened to a speaker from SelahFreedom present on the growing “industry” of sex trafficking. It was horrifying. One of the slides on the speaker’s Powerpoint was from a pimp’s notebook, instructions about how to keep his women under his control. Drugs help but the narrative weave is all. It could have been notes taken from the commandant at a concentration camp or a cult leader’s handbook. Paranoia tactics. Isolationist, us-versus-them strategies. Lies and distortions repeated to the point that it is impossible, once inside the narrative, once hooked in the story, to distinguish between reality and the distortion.

We live in the age of information and misinformation. We now inhabit the era of hyper-magnified distortion. A single post, a tweet, can reach millions in an instant. The boy stole the ax! They are trying to make us all socialists! The judge was biased! Don’t believe what you see! Witch hunt! Hoax! Believe what I say not what I do.

When was the last time you checked the veracity of your news sources? When was the last time you bothered to fact check or research something that alarmed you in your stream?

Fear is a great brain scrambler. Robert Sapolsky, researcher of stress in animals, has shown that zebras are capable of shaking off their stress after the lion gives up the chase. People, on the other hand, whip up and maintain their stress by repeating the story over and over to all who will listen. And, more to the point, there need not be a real lion chasing us, just someone who knows how to manufacture a lion and get us to spread the terror, to share without question.

It’s the pimp’s strategy. Stoke fear. Discourage thinking.  Threaten. Sow doubt. Play on insecurity. Keep them hooked. Encourage thoughtless sharing of an empty narrative. It validates the perspective of the pimp and the farmer who couldn’t possibly have lost his ax all by himself.

Despite what they tell you, the pimp is never protecting your interests. The pimp is only concerned with his own interests and needs a deep state of delusion running rampant through his stable, to control the narrative.

Imagine what might have been possible if anyone in the ax chain had thought to ask a question, had stepped back to think about what they were hearing before they hit the easy button to share.

 

read Kerri’s blog post about THINK BEFORE YOU SHARE

 

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Snap Your Fingers [on Merely A Thought Monday]

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When I was roaming the world working with corporate types, tilting at windmills, I would tell my be-suited crowd that words matter. I’d relay a story I heard from Don Miguel Ruiz. He told his audience that people in the United States completely misunderstood the word, “spell.” He said, “You think to put a spell on someone is magic, like hocus-pocus. But, that is not it at all. Tell a little girl that she is fat and you will have spelled her forever.”

She will hate her body. That is a powerful spell.

Words matter. Tell the nation that the “Democrats are vicious” or that the news is “the enemy of the people” and the enchantment is undeniable, angry.  Push the spell through a propaganda machine and it magnifies in intensity. Like a ritual drum, the thump-thump whips the glassy eyed adherents into a red frenzy. Insist that long debunked conspiracies are real or that the deep state is out to get us all and the spellbound will see demons threatening everywhere.

The nation body splits and just like the little girl looks with hatred at the other part of itself. A powerful spell.

‘Hoax’ thump-thumped in the face of undeniable fact and the mesmerized fall into line, repeating what they are told to repeat. “Cluck like a chicken!” the hypnotist suggests and the sleepers dutifully cluck. Common sense surrenders to the spell.

Teachers of consciousness use different techniques but are in general agreement about how to awake from a nasty spell. Step back. Doubt what you think. See what is there and not what you think is there. Detach from your attachment to what you want to believe, to what you are being told. The salesman always wants you to buy the car. He is not your friend. He does not have your best interest in mind. He will use his words tell you anything. Despite what you are told, this car will not make you happy, it will not solve all of your problems. It will not make you sexy or powerful or complete. Uncouple from the words, the spell being woven, and see.

If she is lucky, the little girl one day wakes up and realizes that the hatred she experiences is not her own; it was planted in her with a word. The hatred she wields against herself and turns on to others is not of her creation. She learns that she must snap her own fingers and call herself awake. The hypnotist, she understands, only has authority if she continues to cluck and sleep.

 

read Kerri’s blog post about WAKING UP

 

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Ride The Lion [on KS Friday]

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Let’s just say that 2020 is off to a rough start. If I was to get out my old-school label maker and slap a sticky tape descriptor on last year, on 2019, it would be the year of contention. 2020 is shaping up to be the watershed. Ka-chunk, ka-chunk, ka-chunk.

Broken contracts [literal and metaphoric]. Broken wrists. Broken dreams. All of our presses have stopped. We are moving very, very slowly through our days. We are having long conversations about where we’ve been, our successes and failures, dreams realized and those that went to ashes in our mouths, and where we want to go from here.

Unless you are being chased by a real lion, fear is mostly a function of imagination. In the real-lion scenario, fear is a life-saver that makes world-class sprinters of us all. In every other case, sans lion, it is a made-up monster that chases.  Running does no good. This chasing monster requires the opposite of the real lion: stopping, turning, and looking squarely into the eyes of your own dark imagination. The only relevant question is, “What’s wearing the mask of this monster?” Shame? Failure? What should have been? What will never be?

It is a turning point. Stopping. Breathing. Turning and staring back at your wild-eyed scare-fantasy and realizing that it’s merely a mechanism to prevent you from being where you are.  Standing in this exact moment is the only place from which you can enact change. It is the single location in which you can fully, unequivocally appreciate your life. Self-made monsters always dissipate when scrutinized.

Running away casts you as both runner and lion, chaser and chased. Fear the imagined-lion, be the runner. It splits you in half. The sky is falling! The sky is falling! And what if it is not falling? What if the lion-monster chases precisely to prevent you from standing still?

It’s a vicious circle, an energy eddy, this hyper-active dark imagination. It is true, if you think about it, that an imagination that is capable of so much doom is equally capable of fixating on the light side. Ride the lion. Better yet, give it wings so the ride is uncanny and wondrous. The ultimate human choice is where we decide to place our focus.

The story we decide to tell follows the focus-choice. Standing still, the only place from which we can see the array of choices and available stories, we are once again learning, seems to be the gift of the Watershed.

 

 

WATERSHED on the album AS IT IS is available on iTunes& CDBaby

 

read Kerri’s blog post about WATERSHED

 

 

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watershed/as it is ©️ 2004 kerri sherwood

Do Like Duchamp [on Two Artists Tuesday]

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Roger used to say that Picasso’s paintings determine the shape of our cars. He meant that “seeing” is not passive. Just as audiences in a play wiggle in their seats at seven minutes into the play, the usual time for a commercial break on television, our visual sensibility is also patterned and mostly culturally uniform. Beauty is in the eye of the beholder and that eye has been conditioned.

One of the great moments of visual conditioning came in 1917 when Marcel Duchamp entered his “readymade” sculpture, FOUNTAIN, in an art exhibit. FOUNTAIN is a urinal. He signed his readymade scultpture R. Mutt. It is possible to spend many days of your life reading about FOUNTAIN, the symbolic meaning of a toilet, the then-new art term “readymade” and the challenges readymade-as-art posed to the art world, how Duchamp came to enter a urinal in an art exhibit. In that moment of time, a whole new genre was born: conceptual art. The idea behind the work is more important than the finished piece.

You can draw a straight line from Duchamp’s toilet to the recent banana duct taped to the wall by Maurizzio Cattelan. And, you might ask, just what was the idea behind the banana?

You can draw a straight line from Duchamp’s FOUNTAIN to Kerri’s out-door-voice-exclamations in a gallery, “ARE YOU KIDDING ME?” The idea behind the conceptual work generally needs a curator’s explanation. “I WANT TO EXPERIENCE IT, NOT HAVE IT EXPLAINED!” she gestures wildly, sending other patrons fleeing. In that moment, my wife becomes exquisite performance art.

You can draw a straight line from Duchamp’s urinal to my inability to walk through an antique store and not see elegant design worthy of Louise Nevelson. Racks of door knobs. Stacks of suitcases. A wall of bric-a-brac, the wall composition more meaningful and beautiful than any of the individual pieces displayed.

A statement from Captain Obvious: artists live in a time and the art they produce is an expression of that time. Duchamp put his toilet on a pedestal in 1917, the year the world was nearing the end of the first war to end all wars. It was a horror story. The manufacture of stuff was hitting its stride.  The Royal Academy had a lock on determining what was considered art and what was not. The rules of polite society felt dangerous and suppressive. Duchamp, like all change agents, pushed against the norm.

There is composition and design in the everyday. There is human-created beauty all around us. We learn in school that form follows function and form is design. We learn in school that one of the purposes of art is to create beauty. Another purpose is to shock people out of complacency, to see what is in front of them and not what they think is there. Beauty usually lives beyond what we think.

We live in very confusing times. We are asking fundamental questions about truth, about social norms and what is acceptable. We are asking questions about who we are and what we believe. You can draw a straight line from Duchamp’s FOUNTAIN to our current confusion. Is it art? Is it not? If the idea is more important than the final expression then what happens when all that is left to see and touch is absent of the idea? What happens when the curator is gone and only the urinal remains? Sense breaks down.

What happens to  the eye and ear that is shocked open but refuses to see what is right in front of them and, instead, retreat behind the fortress of what they think?  What happens when form no longer follows function but things flip the other way around? What happens when form IS function? Propaganda, mostly. A naked emperor and plenty of people passionately swearing that they see clothes. Readymade thought.

We live in those times. Sense breaks down. We tape bananas to walls and issue a certificate of authenticity.

 

read Kerri’s much-less random blog post about DOOR KNOBS

 

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Know They Are Watching [on Two Artists Tuesday]

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We go to Bristol wood to return to center. It is a place of peace. It somehow breathes serenity into our overactive minds.

Sign of deer are everywhere in the woods. We rarely see them but we know they are there. I imagine they watch us. I imagine they silently encourage us to walk slower, to catch our breath. To listen to tree song. We delight when we walk a path where they recently tread.

Deer are a symbol of gentleness and intuition. Balance and peace. This summer, on the Island, we saw deer everyday. We would retreat from the contentious community back to the littlehouse, pour some wine, and take a walk. A deer would inevitably appear and we’d stop talking. We’d breathe. We’d watch. It would watch us, too. After a few moments it would leap and disappear and, with it, our day’s concerns would also disappear. The deer would shift our conversation, from a lengthy list of disgruntlement to the beauty immediately surrounding us.

I’ve decided that, in our broken-wrists-time-out, our goal should be to make the whole world Bristol Wood. That we shouldn’t retreat to find peace but should invite peace and balance and serenity into the rest of the day, no matter where we happen to be living it.

Things I used to know. Things I once practiced.

Know that they are there, everywhere. Watching. Silently encouraging us to walk slower, the breathe, to focus on the beauty immediately surrounding us and not on the other stuff. It turns out that balance and serenity are practices, not pursuits. They are choices. Peace-of-heart-and-mind do not exist in the woods exclusively. Peace comes to the place where I decide to allow it. To practice it. To make it a priority.

 

read Kerri’s blog post on DEER SIGN

 

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Get Serious [on Merely A Thought Monday]

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Looking back on the experience, I see a map of choices.

Kerri fell. Both wrists were painful. We knew it was bad. In the ski patrol hut, the medic’s advice was to go get x-rays. Choice #1: To get x-rays or to not get x-rays? We had a conversation in all seriousness with the medics, that, given the nature of healthcare in America, it might be a valid option to skip it. To go home. To ignore it and let it heal as it will. The problem with ignoring it: the loss of motion that comes with ignoring what might be broken or torn in her wrists.

So the choice was not actually to get x-rays or to not get x-rays. The choice, the real choice, was financial ruin or loss of motion. Kerri is a pianist. It is her livelihood and her life. So, choice made: financial ruin.

We pulled into the medical center and saw a sign. To the right was the emergency room. To the left was the urgent care center. We sat in the truck and debated the option. While Kerri writhed in pain, in all seriousness, we sat in an idling truck and discussed the merits [or lack thereof] of our insurance policy. If we chose the right hand path, we would meet the vast, gaping deductible. Like Evel Knieval attempting to jump his motorcycle over the Grand Canyon, we’d have to gun our engine and run at the edge. No parachute. So, we chose the left hand path. We went to the desk of the urgent care and asked if they did x-rays.

Choice #2 was not, in truth, the emergency room versus the urgent care. The choice was which canyon did we have the best chance of surviving?

A few days later. An appointment with a great orthopedic doctor. She, in all seriousness, told us that she ignores the part of the patient file that speaks to their health insurance. She explained that there is dilemma that doctors face: do I advise my patient to do what is best for their health or do I advise them to do the thing that might keep them out of bankruptcy? She ignores the file because she wants her patients to hear what is best for them. She told us that she needs to keep herself blind to the financial reality that her best advice might necessitate. “Yet another untenable choice,” I thought.

Our choices reminded me of an experience we had a few years ago. We were shopping for a new washing machine. The salesman, an older man, was embarrassed by the products he was selling. He, in all seriousness, took us down the aisle of appliances and told us what was wrong with each machine. He was convincing us NOT to buy his appliances. Mostly, he told us, they were designed to fail. He said, “We used to know how to make things in this country. Now we make crap on purpose.”

The healthcare in the richest country on earth is just like the appliances sold in the richest country on earth: Designed to fail. Making crap on purpose. The way I am certain that I see clearly? Sit with your wife, a world-class pianist, who has just broken both wrists, and listen to the choices you are considering. Clarity, in all seriousness, comes when the crisis hits.

As we shake our increasingly obese and unhealthy bellies, wave our angry signs and shout about making America great again, it seems we are falling further and further behind. We saw it this week in our senate, did we not? At least our capacity for denial of the truth [in our post-fact, low-information frenzy] is running in front of the rest of the world. I can only hope, as a nation, we break our collective wrists sooner rather than later. In our pain, perhaps we will look at the sign and have a real conversation, in all seriousness, about our choices, about what we can and cannot survive.

 

Read Kerri’s blog post [written with a cast and a splint!] on CHOICES

 

 

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Look Beneath [on DR Thursday]

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What’s beneath? It’s a question all artists learn to ask. It’s the same question good coaches ask of their clients. Seeing is not a superficial affair.

What’s beneath? What alchemy of color was brewed to make this image or that painting? What alchemy of experience was brewed to make this belief or that perception?

Sometimes “what’s beneath” supports and enlivens the surface layers. It’s magnetic and makes you stare – even if you don’t know why. Sometimes it dulls the painting, pulling the life from it. The same holds true for how a life is storied. Sense-making is as dynamic as color.

Color is a miracle. It is never passive. It is only understood by what it is relative to. That is, color, like a relationship, is fluid, moving, spirited.

What’s beneath all those layers and layers of color?

 

read Kerri’s blog post about UNDER PAINTING

 

 

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under painting, like captain underpants, is under copyright. ©️ 2020 robinson david

Look Beyond [on Not So Flawed Wednesday]

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“Technology is anything that wasn’t around when you were born.” ~ Alan Kay

On the one hand, this could be a display of old technology. Shelf after shelf of what was once understood as a camera. Not so long ago a camera was a device that employed a once-revolutionary-invention, a light sensitive plastic strip called “film,” to capture images. These film devices, the miracles that populated my youth, are now antiques.

On the other hand, this could be an art piece, a commentary on the contemporary world. Many, many, many cameras, all with their lenses pointed back at us. There are cameras in phones, each a trafficker of the relatively new obsession known as the “selfie.” There are cameras at almost every major intersection of my town. Traffic selfies that come with tickets. In stores I am told to smile because I am on camera. There are cameras in doorbells. Many medical procedures employ teeny tiny cameras capable of fantastic voyages, inner selfies. The cameras shot into outer space transmit back to us images of a tiny speck in this vast universe, a dot called Earth.  Our art piece reveals to us that we are the central object of our study.

Standing in front of the shelf, looking at the myriad lenses looking back at me, I understood with some sadness that the cameras on the shelf used to be understood as arbiters of truth. There is a now an antiquated term, you may have heard it: photographic proof. Proof. It is not so much that the camera – film – is antiquated – but it’s purpose is most certainly passe’. Truth is out of date. Proof has no reliable root. We have replaced ‘photographic proof’ with a new concept, a ‘post-fact’ world.

Buckminster Fuller once said that, “Humanity is acquiring all the right technology for all the wrong reasons.” Were this beautiful unintentional-art-piece-found-in-an-antique-mall one of my creations, you can bet that I’d scribble Fuller’s quote someplace on the shelf, though, you’d have to look beyond the cameras to find it.

 

read Kerri’s blog post about CAMERAS

 

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Follow The Intention [on DR Thursday]

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It occurred to me, last night, when writing about the heart symbol, that the mistake we too often make is to hold fluid aspirations as ‘fixed’ states. Heart as a frozen symbol. An achievement. An arrival station on the train of life.

Nothing in this vast universe is still. Every molecule, every cell, is in constant movement. Constant transformation. Peace, hope, heart, love,…are not end-games. They are not winnable sports. They are dynamic, fluid, ever moving. Try to wrap your fingers around them and they will slip through, fog in a butterfly net. They are unattainable.

What, then, does it mean to dwell in your heart? To be at peace?

None of us are ‘fixed’ states. We, too, are in constant movement. Constant transformation. Constant relationship. Constant choice.

Last week I told the choir that their voices would go where their eyes go. Look up. Look to the back of the hall. In that way all are included in the song. It is also true that our actions will go where our thoughts go. Meditate (think about) division and opposition and that’s where we go. That’s what we see. That’s what we create. It’s a choice.

The words on this painting come from the Buddhist prayer of loving kindness. It is a prayer that ripples out, ripples back. Constantly moving. Peace as a motion, hope as a practice. Love as a dynamic action that follows the intention of a fluid mind.

 

read Kerri’s blog post about BE PEACE

 

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yoga series: may you/morsel: may you be peace ©️ 2015/2017 david robinson