Glossolalia or speaking in tongues
is a phenomenon in which people appear to speak in languages unknown to them.
One definition used by linguists is the fluid vocalizing of speech-like syllables
that lack any readily comprehended meaning,
“In order to manifest Aiki principle you must first have connectivity throughout your own body. This is the result of developing your ki or intent. Secondly your movement must be a balance of yin and yang so that there is no pressure into the point of meeting with your partner. In the Chinese Classics it states,”To yield is to adhere, to adhere is to yield.” This doesn’t mean giving up space but rather using the point of contact as a pivot point. On one side yielding (yin) to your partner’s force and on the other side entering (yang) into his space. In this way your partner is stuck to you and you are free to move in any way that you choose. This requires a great deal of sensitivity. It is a simple thing but very hard to master.”
Sensei Gleason.
Magnetiser.
Moving had become akin to crucifixion.
Hands raised.
Eyes closed.
Peace appeared a rite.
It was an unsolicited gift, now given freely.
"Eli Eli lama sabachthani?"
Nietzsche's ghost.
“Whoever fights monsters should see to it that in the process he does not become a monster.
And if you gaze long enough into an abyss, the abyss will gaze back into you.”
He appears, disembodied in her dreams.
Proto-fascist apparition, speaking Aramaic?
He sighs with a heavy heart.
He wails, he shakes his fist.
"Eli Eli lama sabachthani?"
The death of Nietzsche.
“The individual has always had to struggle to keep from being overwhelmed by the tribe. If you try it, you will be lonely often, and sometimes frightened. But no price is too high to pay for the privilege of owning yourself.”
“He who has a why to live for can bear almost any how.”
Speaking in tongues.
PERFORMANCE
[JACQUES]
All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
And then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
And then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Forsaken, forgiven?
He was a self-engineered man.
"One should not understand this compulsion to construct concepts, species, forms, purposes, laws ('a world of identical cases') as if they enabled us to fix the real world; but as a compulsion to arrange a world for ourselves in which our existence is made possible:-we thereby create a world which is calculable, simplified, comprehensible, etc., for us."
Friedrich Nietzsche
His body was results driven.
Material success brought little succour for his soul.
Respect, he owned, respect, he forced.
Love, his own, love, he yearned.
Love, his own, love, he yearned.
No gain without pain.
Self-possessed pain.
Self-dispossesed pain.
Self-possessed pain.
Self-dispossesed pain.
His was an American dream.
He lived it, he breathed it.
His was an American fallacy.
He avoided an outstretched hand.
His was an American fallacy.
He avoided an outstretched hand.
Only twice, he wept.
Once at her funeral.
Once at her funeral.
Once at his funeral.
Mama, Dada
"Eli Eli lama sabachthani?"
Footnotes.
I am reflecting on my practice through aikido, how can we retain/attain unity in our connections?
To what extent is this patchwork of a piece an expression of mine?
To what extent is a domain of one's own a source of slavery?
To what extent can there be a commons if there is no property?
Is commons what is left after those with power have staken their claims?
Term “connection” in Aikido is often used inter changeably with “unity”. Both of them relate to Japanese words “Aiki” and “Musubi”. They describe the quality of being in one’s body and interaction between partners that allows them to move together as one. Although these terms are somewhat similar, they do have slightly different meaning. For example, the word “connection” implies two separate entities meeting and forming “unity”. Japanese term “Aiki” describes unity of energy, while “Musubi” means “tying together, or connecting two things or people”. Despite the subtle differences, all these terms will be used here as describing the same idea.
I am reflecting on my practice through aikido, how can we retain/attain unity in our connections?
To what extent is this patchwork of a piece an expression of mine?
To what extent is a domain of one's own a source of slavery?
To what extent can there be a commons if there is no property?
Is commons what is left after those with power have staken their claims?
Term “connection” in Aikido is often used inter changeably with “unity”. Both of them relate to Japanese words “Aiki” and “Musubi”. They describe the quality of being in one’s body and interaction between partners that allows them to move together as one. Although these terms are somewhat similar, they do have slightly different meaning. For example, the word “connection” implies two separate entities meeting and forming “unity”. Japanese term “Aiki” describes unity of energy, while “Musubi” means “tying together, or connecting two things or people”. Despite the subtle differences, all these terms will be used here as describing the same idea.
