My year reading and responding to True Perception concludes with a response to the last point highlighted by Acharya Arawana Hayashi during the weekend training in Boston:
Our message is simply one of appreciating the nature of things as they are and expressing it without any struggle of thoughts and fears. p.2
I explored the first half of that sentence in a previous post on self-representation and the path of dharma art. Here I’m responding to the second half concerning expression without struggle.
Trungpa distinguishes between two types of art: exhibitionist art and genuine art. The adjectives suggest one is better than the other, so I prefer to say dharma art instead of genuine art. He, too, emphasizes that a moralistic approach to art is inappropriate. Exhibitionism is inherent in creativity. Whenever a need for recording your work of art is involved, then there is a tendency toward awareness of oneself… p.26
The above statement was made in front of an audience at the Vajradhatu Seminary in 1973 during a recorded talk. […]
My dark ecology reading of Trouble on Triton continues with a response to the following question: What poetics does Samuel Delany deploy to describe the environment in Trouble on Triton?
Timothy Morton uses the word ecomimesis to describe nature writing, implying mimicry and Plato’s idea of the poet’s divine madness. Ecomimesis evokes a pervasive quietness (like a hush) that authenticates an atmosphere. The result of ecomimesis is a shared ambience called nature . He provides six elements of ambient poetics that are vital to ecomimesis: rendering, tone, medial, aeolian, timbral, and the re-mark.
Instead of exclusive categories, these are intentionally vague and overlapping. As I went about identifying exemplars of these elements from Trouble on Triton, the ambivalence between categories revealed varying layers of significance and emphasized the foregrounding-backgrounding function.
The term is borrowed from cinematography and describes the technical process by which the appropriate atmosphere of a scene is invoked. This process pulls all the various elements together to simulate the moment portrayed in a scene.
Rendering attempts to simulate reality […]