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This is a part VII in a series of posts on Uchi-Deshi Life and is the final installment, the original has been shelved for a future series. The first was an “Introduction to Saotome Sensei”, published prior to this one and has been read in sixty-five countries. Unlike prior articles, this is a semi-fictional conversation grounded in memos from historical in-vivo dialogues with several individuals during evenings over dinners and walks, and are quite saturated through various cultures, languages, and individuals from business, governance, militaries, leadership, creative arts, and martial arts. MDL is used to demarcate diegetic source music with level 1 (i.e., “[“ & “]”), non-diegetic music during authoring with level 2 (i.e., “[[“ & “]]”), credits during titling with level 3 (i.e., “[[[”, “]]]”).
[編集済み]: “Are you enlightened?”
路意: “Enlightenment is not self.”
[More Than A Woman, Tavares, 1977; “More than a woman…”]
[編集済み]: “Hahaha!”
路意: “‘We can take forever, just a minute at a time.’”
[編集済み]: [Shakes head.]
路意: “This is it; go beyond ‘it’.”
[編集済み]: “What is it?”
路意: “Songs end. Impermanence.”
[路意 gestures at the sign on the wall.]
路意: “Limitless, beyond ‘all’, signs point the way, it’s a matter of perspective; beyond limitless geometries”.
[編集済み]: “Like a fractal.”
路意: “That’s a start, a little bit twist.”
[[編集済み] takes a sip.]
路意: “‘If I can’t have you…,’ this is craving.”
[A Fifth of Beethoven, Walter Murphy, 1977]
[編集済み]: “But you got to start somewhere.”
路意: “There’s the flaw, self-view is limitless too. Grasping at ‘start’.”
路意: “Step, step… step, step… step, step, step step… rhythm… flourish….”
[編集済み]: “Always new.”
路意: “Always?”
[編集済み]: “You know what I mean.”
路意: “A tangle of knots; in the reeds the Ch’an monks would say; copy copy copy, limitless echoes.”
[More Than a Women, Tavares, 1977; “Let history repeat itself…”]
[編集済み]: “Do you sense everything?”
路意: “It’s not me, not you, it really isn’t.”
[Manhattan Skyline, David Shire, 1977]
[編集済み]: “Groking.”
[路意 writes “[to]grok[ed]” on a napkin.]
路意: “‘See’ the entire wavefunction at ‘once’; ichi-go, ichi-eh; one-life, one meeting. The character for ‘meeting’ is curiously translated as ‘organization’.”
[編集済み]: [chuckles]
[Calypso Breakdown, Ralph MacDonald, 1977]
路意: “Just stop. This is bu. Stop the spear. The spear is double pointed. It’s in the ‘hand’, yet… this ‘hand’ is the entire length of the body. To move the spear one direction, it ‘pulls’, to move the spear the other direction, it ‘releases’.”
[編集済み]: “Like drinking, eating.”
路意: “Yes. Pull pull, down the hatch.”
[編集済み]: “And the ears do that too?”
路意: “Yep. Stimulus shy, stimulus hungry, some psychologists called it. Maybe discover ‘stimulus satiated’.”
[編集済み]: “And you can, I mean, crap! This is hard!”
路意: “Hard, soft, beyond that too.”
[編集済み]: “Is this connecting to the ‘earth’?”
路意: “The top spins. Language stereotypes, standard deviation, distributions. Sisyphus pushes the rock up the hill. The hill distribution. Go beyond pushing.”
[Night on Disco Mountain, David Shire, 1977]
[編集済み]: [Shakes head.]
路意: “The wish fulfilling gem… this is the tip of the spear… piercing emptiness.”
[編集済み]: “The matrix.”
路意: “Mountain assembled on each summative permutation.”
[編集済み]: “Is there choice?”
路意: “Thomas Theorem strikes again, the belief in free-will is very powerful in a pinball realm.”
[Open Sesame, Kool & The Gang, 1977]
[編集済み]: “Really?!?!?!”
路意: “Shazaam indeed, the best is when the songs are ‘random’, even elliptic curves are not random; real random, never heard before. ‘Groove with the genie…’”
[編集済み]: “Why is that?”
路意: “Into the beautiful black!”
[“Abracadabra!”]
[編集済み]: “What?!”
路意: “’Don’t play the butter notes,’ Herbie Hancock says.”
[編集済み]: “Who?”
路意: “Different band. Double entendre, wait, nope, triple…”
[Jive Talkin’, Bee Gees, 1977]
[編集済み]: “I got nothing.”
路意: “Good, this is good, don’t move from there. Just remain. The body factors repetitive movements to primes. Boredom might come, so deploy the parachute.”
[編集済み]: “Parachute?”
路意: “The chute is packed dense in the pack, must be an expert to pack the chute properly, it’s not just stuffed in there, and it’s quite strong.”
[編集済み]: “My brain is on fire.”
[You Should Be Dancing, Bee Gees, 1977]
路意: “‘…as if your head is on fire,’ ‘you should be dancing…’, though ‘should’ is a form of tyranny, it’s a heuristic, Karen Horney’s ‘tyranny of should’. Beyond dancing, beyond not dancing, beyond both dancing and not dancing, beyond neither dancing nor not dancing. Tetralemma. Speaking of dancing, how about walking? Time for the check…”
[Boogie Shoes, KC & The Sunshine Band]
[編集済み]: “Boogie Shoes…”
路意: “Can’t make this stuff up… it’s like programming, does the programmer program or does the program, program the programmer? Four way mousetrap applies even here; tetralemma. Go beyond programming, go beyond not programming, go beyond programming and not programming, go beyond neither programming nor not programming. Programming is an interchangeable indicator for ‘insert procedural function here]’-ing, where that procedural aspect can also be interchanged…”
[Salsation, David Shire, 1977]
[編集済み]: “There’s the tessellation.”
路意: “Yes, that’s the tilt, and that’s subject to redaction. ‘Loose lips sink ships.’”
[Signs checks; walks out of the restaurant/bar under the chainsaw chandeliers.]
路意: “Leary way… how appropriate… yet not necessary.”
[編集済み]: “Have you ever tried any?”
路意: “Nope, look at that, ‘HD Supply’, ‘high definition supply’”
[編集済み]: “Hehe.”
路意: “‘Nice Moves… Only recycled… news… paper…,’ this IS the recycling. Compost.”
[編集済み]: “Ok, ‘we sell boxes.’”
路意: “We-view does indeed sell boxes. It’s an entire cardboard straight jacket of boxes, conceit… the great cognitive insulator.”
[[Disco Inferno, The Trammps, 1977; “Burn baby burn”; Smiley face @ Leary]]
[編集済み]: “Smiley face…”
路意: “Yep.”
[[Disco Inferno, The Trammps, 1977; “Just can’t stop… when ‘my’ spark gets hot.”]]
路意: “Perception has valences [of perception]; self-view, we-view, these kinds of perceptions, goes toward ‘enduring’-view, basically distribution views. Stereotypes, illusions.”
[編集済み]: “And the other direction?”
路意: “It’s not exactly 180 degrees, no pun intended. Cornering without target fixation; brake late, look through, lean, apex, accelerate, punch it.”
[Swinging at the Bus Stop @ Leary]
[編集済み]: “Is this why sensei said to you, ‘I cannot… too smooth.’”
路意: “Yes. It’s the smoothness of the cornering, even when the amplitude swings are tremendous. Looks smooth at a distance, rough up close, brachistochrone smooth around the corners of the breathing. There’s a hint in there, there are apexes to the corners of breathing. Breathing volume distribution changes shapes, it’s like a track, not always the same. Three ‘standard’ shapes. The track banks, gets wider, narrows, turns, goes up, goes down, and this track inverts too.”
[[Mine All Mine, The Stylistics, 1980]]
[編集済み]: “It doesn’t ever stop does it?”
路意: “Of course it does, the stopping is exactly the going.”
[[Mine All Mine, The Stylistics, 1980; “Take my hand… I want to see if you… can make this dream come true…”]]
路意: “Flow state paired with working on the most valuable problem to work for beings.”
[編集済み]: “Suffering.”
路意: “Yes.”
[[Dance and Shake Your Tambourine, Universal Robot Band, 1975]]
[編集済み]: “But missing is ok isn’t it.”
路意: “Ok, not ok, ok and not ok, neither ok nor not ok. Shredded.”
[編集済み]: “Grueling, but… liberating.”
路意: “To liberate, liberating, liberated. See beyond…”
[編集済み]: “I don’t think I’m going to be able to go to sleep.”
路意: “Not surprising.”
[編集済み]: “Let’s do this again.”
路意: “‘Let’s…,’ a strange attractor.”
[編集済み]: “Haha. Goodnight.”
路意: “Good night…”
[[Somebody’s Gotta Win, The Controllers, 1976]]
[[[Stop and Think, The Trammps, 1975; “Stop and think a while… before you leave and say goodbye… if you leave I know my life will never be the same… one more chance, that’s all I ask… my heart is full of shame… let me explain… I’ll confess the wrong I’ve done, if you say your mine…”; [the devas at play… oh brahma…] ]]]