Free Play: Improvisation in Life and Art"There is an old Sanskrit word, lîla, which means play. Richer than our word, it means divine play, the play of creation, destruction, and re-creation, the folding and unfolding of the cosmos. Lîla, free and deep, is both the delight and enjoyment of this moment, and the play of God. It also means love. Lîla may be the simplest thing there is--spontaneous, childish, disarming. But as we grow and experience the complexities of life, it may also be the most difficult and hard-won achievement imaginable, and its coming to fruition is a kind of homecoming to our true selves."--Introduction, page 1. |
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Page 26
... shape by shape . If the two constructions , self and world , mesh , we grow from child to adult , becoming " normally adjusted in- dividuals . " If they do not mesh so well , we may experience feelings of inner division , loneliness ...
... shape by shape . If the two constructions , self and world , mesh , we grow from child to adult , becoming " normally adjusted in- dividuals . " If they do not mesh so well , we may experience feelings of inner division , loneliness ...
Page 60
... shape of the vibrational space . The thumb supports the violin in a dynamic state of balance , while the fingers stop the strings to change their vibrating length . A thick or long string creates a deep , fat sound ; a short or thin ...
... shape of the vibrational space . The thumb supports the violin in a dynamic state of balance , while the fingers stop the strings to change their vibrating length . A thick or long string creates a deep , fat sound ; a short or thin ...
Page 82
... shape of your hands , by the way they move , by their resistances . The structure of the hand is not ( once again ) " just anything " ; the fingers have certain characteristic relationships , certain ranges of relative move- ment ...
... shape of your hands , by the way they move , by their resistances . The structure of the hand is not ( once again ) " just anything " ; the fingers have certain characteristic relationships , certain ranges of relative move- ment ...
Contents
A New Flute | 1 |
Inspiration and Times Flow | 17 |
The Vehicle | 25 |
Copyright | |
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activity addiction art forms artist artwork audience Bach beauty become Beethoven blocks Blue Cliff Record body breakthrough breath bricolage Carl Jung child comes composer consciousness create creation creative process dance deeper e. e. cummings energy everything experience expression fear feeling flow flute free improvisation free play Galumphing Gregory Bateson hand ideas Igor Stravinsky imagination improvisation inner inspiration instru instrument intuition invent judging spectre kind learning limits listen living look material matter means ment mind muse musician mysterious nature ourselves P. D. Q. Bach painting pattern performance person piece player poetry practice procrastination resonance rhythm rules samadhi sense Shobogenzo sound spiritual spontaneous Stéphane Grappelli string structure surprises surrender T. S. Eliot technique temenos theater thing thought tion totally tune unconscious violin voice whole William Blake writing