24.10.14

Pathways, especially those of indefinite reach, draw the heart, if you let them; a sense of heart leading, even prior to embarkation.
Exceed expectations

23.10.14

The first stage of taiji is the fall of tension – sink and relax. The second stage is the instigation of turning and the separation of full and empty. The third stage is the rise of spirit.
the assertion of the dynamism of spirit over the seductive inertia of matter
the duty to believe
The point is never a catch phrase or punch line, not a thought held onto or followed, but simply the projection onto the ground of the axis of revolution. Like a spinning top or gyroscope that appears to be still or traces a seemingly random, though very rich, line: the intensity of its rotation focuses, funnels, the mind to its point of contact, as mass is flung outwards.
Whatever is strong and/or established must be deconstructed. Whatever is weak must be brought up to strength, and deconstructed. Then all form is transitory – a passing through – appearing then disappearing.

21.10.14

"The center is void; all the action is on the margins."
A constant zigzagging between vulnerability and affirmation.
A productive asymmetry that functions as a permanent fissure – the possibility of expression.

20.10.14


The majority oppresses with force (force is oppression), with mass, advantage in numbers. The minority then has no recourse other than to yield – to slip between the planes of oppression and somehow turn the weight of the majority against itself. This is a natural state of affairs, and is why force favors the strong and spirit favors the weak. So, if you are interested in spirit better become weak, not in your self, but comparatively.
The Other is vital not as something to empathize with or show compassion towards – nothing so sentimental and weak. The Other, if I let it, always brings me to my own nakedness, my own weakness, and therefore to a source of pure unadulterated strength, the source of spirit.
Eradicate the dead heart of the system.
Nothing empowers like a worthy opponent. I learnt this from my teacher. Although it's only possible to learn something you already know.
A great artist doesn't create beautiful surfaces, she creates weapons that can be used to rupture surfaces and dive to unfathomed depths. She does this by living an impeccable life devoted to expression.
If a music/poetry/philosophy doesn't demand that I live a life other than the one on offer, then why bother with it?

It is not, and has never been, a matter of knowing, or of awareness, or even of consciousness. The internal things we work with cannot be known, and the more we try to know them, which means set them within external frameworks of reference and representation, the more we ruin them. This is why, it is, and has always been, a matter of faith.
The student of the Internal must learn to live and love a life that welcomes any threat to its being.