Tuesday, December 9, 2014

TRACES: Chi, Ki, Suijaku & Derridian Deconstruction/Existentialism


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Traditional Chinese character Qì

"Chi.....Traces.......was a key term in the thought of medieval China and in its widest meaning it embraced the phenomenal world.” For a discussion of the word “traces” and what it means in a specifically Chinese context see T.H. Barrett “Exploratory Observations on Some Weeping Chinese pilgrims”. London, The Buddhist Studies Forum Vol 1. Seminar Papers (1987-88) ed. Tadusz Skorupski. School of African and Asian Studies. 1990. p.99-110.........http://www.mongolianculture.com/indomongolian.htm#_edn8"

"Trace is one of the most important concepts in Derridian deconstruction. In the 1960s, Derrida used this word in two of his early books, namely Writing and Difference and Of Grammatology. In French, the word "trace" has a range of meanings similar to those of its English equivalent, but also suggests meanings related to the English words "track", "path", or "mark".... It is this absence of presence that is termed as ‘trace’ by Derrida.....'The trace is not a presence but is rather the simulacrum of a presence that dislocates, displaces, and refers beyond itself. The trace has, properly speaking, no place, for effacement belongs to the very structure of the trace.'.....Trace is also not linear or chronological in any sense of the word, “This trace relates no less to what is called the future than what is called the past, and it constitutes what is called the present by the very relation to what it is not, to what it absolutely is not; that is, not even to a past or future considered as a modified present”.....Derrida’s concept of "trace" is quite similar to Heidegger’s concept of Dasein, although from different perspectives. Here, we see the relationship between Heideggerian existentialism and Derridian concept of "trace", which, in turn, will also work as an indicator of a very close relationship between existentialism and deconstruction.".....

The Spell of Language: Poststructuralism and Speculation.....THOMAS G. PAVEL.....Translated by Linda Jordan......© 1989.....Originally published as Le Mirage linguistique, this book remains the definitive study of the role of linguistics in structuralism and poststructuralism. Thomas Pavel examines recent French thought through the work of luminaries such as Lévi-Strauss, Lacan, Foucault, and Derrida.

"The term honji suijaku or honchi suijaku (本地垂迹?) in Japanese religious terminology refers to a theory widely accepted until the Meiji period according to which Indian Buddhist deities choose to appear in Japan as native kami in order to more easily convert and save the Japanese.....The theory states that some kami (but not all) are in fact just local manifestations (the suijaku (垂迹?), literally, a "trace") of Buddhist deities, (the honji (本地?), literally, "original ground")...... The two entities form an indivisible whole called gongen and in theory should have equal standing, but in history this was not always the case....In the early Nara period, for example, the honji was considered more important, and only later did the two come to be regarded as equals.....During the late Kamakura period it was even proposed that the kami were the original deities, and the buddhas their manifestations......The theory was never systematized, but was nonetheless very pervasive and very influential..... It is considered the keystone of the shinbutsu-shūgō (harmonization of Buddhist deities and Japanese kami) edifice.".....Teeuwen, Mark and Fabio Rambelli, eds. (Dec 27, 2002). Buddhas and Kami in Japan: Honji Suijaku as a Combinatory Paradigm.

Flowing Traces: Buddhism in the Literary and Visual Arts of Japan.......edited by James H. Sanford, William R. LaFleur, Masatoshi Nagatomi

Best, Susan. "The Trace and The Body." In Trace: the international exhibition of the Liverpool Biennal of Contemporary Art......Liverpool, England: Tate Liverpool, 1999 .......Such traces are part of the visible world, the result of the outer world .... to the lived reality of the phenomenal world but rejects the idea of art as ..www.academia.edu/285208/The_Trace_and_the_Body

"...Trungpa's Maitri program, based on Buddhist teachings about basic patterns of energy.....based on Vajrayana teachings on esoteric energy patterns within the mind and body.... Some energy patterns are more dominant, others more background.....

Tibetan: Ki

"The Shambala teaching lineage established by Trungpa includes texts and practices relating to “dralas,” or sentient patterns of energy which have the capacity to enhance human and environmental well-being. The “drala principle” is an inherent aspect of most traditional cultures, involving beings variously envisioned as angels, devas, Nature spirits, elemental energies, and gods and goddesses.".....THE FINDHORN COMMUNITY, NATURE SPIRITS, AND CROSSING PATHS WITH CHOGYAM TRUNGPA, RINPOCHE......Geoffrey Oelsner....http://geoffoelsner.com

The Transparent Becoming of World: A crossing between process philosophy and quantum....Gordon G. Globus.....University of California Irvine....2009

"Dasein is a German word which means "being there" or "presence" (German: da "there"; sein "being") often translated in English with the word "existence". It is a fundamental concept in the existential philosophy of Martin Heidegger particularly in his magnum opus Being and Time. Heidegger uses the expression Dasein to refer to the experience of being that is peculiar to human beings. Thus it is a form of being that is aware of and must confront such issues as personhood, mortality and the dilemma or paradox of living in relationship with other humans while being ultimately alone with oneself.".....Derrida’s concept of "trace" is quite similar to Heidegger’s concept of Dasein, although from different perspectives."

"....Trungpa said that the thangkas in Tibet had really lost it [laughter]. But he really totally admired Gandharan style, which was happening in India around the time of emperor Ashoka. He loved how simple and powerful the geometry was, of not just the shapes, but the forms, the volumes, and the sculptures, and the volumes in the temples. He loved the monumental scale of the sculptures. He also loved the fact that the Gandharan style was developed by Greek sculptors living in India that became Buddhists--or at least were hired to do the Buddhist thing. They knew a lot about the geometry, called the thigses (thig tshad), and Rinpoche loved the monumental scale of their work.......There were certain classic eras in thangka painting that he just loved. There was a time when things had been sort of simple and monumental. When you looked at a representation of the Buddha, it felt like it was 10,000 miles high. It just had a certain sense of scale to it, and simplicity and power. So he actually was wanting to return to that era. He thought the Tibetan approach had become too lyrical, too flowery, too pretty, too sentimental, and that wasn't the way he was...... So I think he wanted to have thangkas that were like him, come to think of it--powerful and gorgeous and simple, but really pure, like going back to the pure teachings and getting rid of all the unnecessary ornamentation....As he was listening to Trungpa, Niland realized he had found someone who understood the phenomenology of perception. When he mentioned his experience with the fan, Trungpa replied, “Sure, sure, I understand, those colors come from the rods and cones in the eye. Tibetan thangkas are all based on that.” For Niland, Trungpa was the opposite of art history lectures and theories of aesthetics."....http://dralaprinciple.blogspot.com/2010/10/principles-of-dharma-art.html

"Qi......In traditional Chinese culture, qi (more precisely qì, also chi, ch'i or ki) is an active principle forming part of any living thing...... Qi is frequently translated as "natural energy", "life force", or "energy flow". Qi is the central underlying principle in traditional Chinese medicine and martial arts. The literal translation of "qi" is "breath"......Concepts similar to qi can be found in many cultures, for example, prana in the Hindu religion, pneuma in ancient Greece, mana in Hawaiian culture, lüng in Tibetan Buddhism, Ki in Shambhala, ruah in Hebrew culture, and vital energy in Western philosophy. Some elements of qi can be understood in the term energy when used by writers and practitioners of various esoteric forms of spirituality and alternative medicine."

"In the Analects of Confucius, compiled from the notes of his students sometime after his death in 479 B.C., qi could mean "breath".......



John Hopkins.....Northern New Mexico….December 2014



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