Philosophy Tuesday

On What’s So

What’s so is always just what’s so. What’s so doesn’t care what you think, feel, intend or wish; it will not bend. You can be freaked out or driven over what’s so, and it won’t change what’s so. If you’re late for an appointment, getting freaked out about it won’t have you arrive any earlier. If you’re having a bad day, being freaked out won’t change what’s so. That which you seek will not bring you satisfaction – aligning with what’s so will. When you’re upset, you’re never upset over what’s so. What’s so is just what’s so, and you’re upset.

If your house burns down and you get upset, does it bring your house back? What’s so doesn’t care if you’re upset; it’s up to you how you handle what’s so. There is no confusion in what’s so. When you don’t know you just don’t know – there is no confusion there. There’s nothing right or wrong about what’s so. What’s so is always open to different interpretations. There’s always just what’s so, and then you have an interpretation. What scares you isn’t what’s so, it’s your interpretation. The interpretation is never true; what’s so is real, the interpretation is not.

Who you’re being is just who you’re being, and what’s so doesn’t care if you’re happy with it or not, so why should you? When you’re not being with what’s so, that’s also just what’s so. Why should you concern yourself? Other people should always be the way they’re being; if you think they shouldn’t, that’s your interpretation. Bring yourself back to what’s so about them. Until you can be with what’s so, you can’t be with anything or anyone. You may have control over other people’s what’s so, but none over their interpretation – give it up.

If you take action or not, it’s still just what’s so. If it works out well or not, it’s still just what’s so. You can never make a right or wrong decision, or take a right or wrong action. Whatever you do will always bring you more of what’s so, and then you have an interpretation about it. Whatever you don’t have, so what? Whatever you’ve done or thought in the past, again so what? Whatever happens in the future is not to be feared. It’s just going to be more of what’s so. The challenge is to spend as much time in what’s so as you can. The chatter in your head is more interpretation, and it has nothing to do with what’s so. There’s nothing wrong with the chatter, it’s just you listening to a fantasy.

The thought that there is something wrong is an illusion; there is nothing wrong, there is only what’s so. Notice when you’re comparing what’s so to some fantasy of how it should be. Bring yourself back to what’s so and it will be OK. Ask yourself what’s so, and align with that. Align with what’s so and it will not matter. That is the foundation of transformation and satisfaction. Not aligning with what’s so is the only thing that will ever bring you hardship or suffering. Life in what’s so will bring you harmony, grace, and balance.

Ask yourself – what’s so about your situation?

— Werner Erhard

(This is great stuff.  And a great reminder that we can never deal with anything powerfully or fully until we are straight with ourselves about what’s so, free from the bits of our interpretation, wants, judgements, stories, narratives, and etc.  We need to bone up, mindful, get present, and be straight with what’s so, right now, in a “just the fact’s, ma’am” kind of way.  Then we can breathe, centre ourselves, engage our central selves, grab the reins of responsibility, and make our choices on who we are going to be, out of which will spring our actions and steps to take all in line with and dealing powerfully with what’s actually so.)

Architecture Monday

I think tonight is a great night to swing by a winery… and wait, it’s designed by Tom Kundig?  SIGN ME UP!

There’s an elegant simplicity to the layout here:  two bars, one that follows the slope of the land, the other that juts outward to hover above it, both clad in weathering steel that grounds it visually into the surrounding hillsides.  The sloping bar contains the functions of the winery while the other contains offices and hospitality bits.  Where they meet, a large covered portico shields entry both for visitors as well as for the grapes, entryways for where all the magic begins.

This straightforward arrangement is accentuated by highlighting the changes of elevation and playing up where the two bars interact.  This is accompanied in no small measure with the hallmark Kundig-style precision detailing that embraces the best of industrial craft.  And  absolutely, a precision deployment of theatricality (which is totally appropriate here).

I’ll raise a glass to that!  And now that’s at least two amazing wineries in BC by Olson Kundig Architects… all the more impetus for me to visit sometime.

Martin’s Lane Winery by Olson Kundig Architects

Art Thursday

Oh this is neat.  A new production starting up at the Princess of Wales theatre in Toronto in November (coming over from the UK) that’s creatively inventive and great for these socially distanced times.  Called “Blindness” it’s an auditory only sound installation, with the audience sitting on stage (spread apart, wearing masks) surrounded by simple colour changing lights.  I’m intrigued!  Unfortunately I’m not traveling home this year so I’ll miss it, but if you’re near Toronto this might just be the ticket.

https://www.blogto.com/arts/2020/10/torontos-princess-wales-theatre-reopening-sound-installation/

https://www.mirvish.com/shows/blindness

Blindness transfers to North America

 

Philosophy Tuesday

As it is, we are not ever, really, but a singular identity.  We are an identity of identities.  And, by default, we are attached to each one of them.

That doesn’t mean however that there is a minimum number of identities that make up our “complete” identity.  Nor is it impossible that we get particularly attached to a particular one or a subset of ones that the rest are rendered nearly superfluous.

All attachments are pathways towards misery and all manner of deleterious ways of being and acting.  But the intensity of our attachments can vary, and the stronger the attachment, the more greased the pathway becomes.

So it is that if we only adopt a few identities to form our full identity-self, or if we become so overwhelmingly attached to only a few, then those identities, and those attachments, become incredibly strong indeed.  And that is where our pitfalls open up mightily.

The reminder here, then, is this:

Diversify Your Identity/Identities

It is a prod to avoid wrapping ourselves up in a single flag and instead spread ourselves broadly, creating a rich and networked set of identities that supports and empowers us and those around us.  If one is challenged, then our auto-defense-weaponry isn’t as likely to explode with full force, for it isn’t the end of us – we’ve got other identities that will live on.  The attachment is less and our freedom is greater.

And if that identity gets challenged, and we see that it isn’t, in actuality, working for us and those around us?  How fascinating!  We can complete it, set it aside, and create anew.

 

(Also, it pays to remember this earlier reminder as well:  Avoid basing your identity on beliefs or things and instead base it on values or intentions.)

Architecture Monday

While the Voxman Music Building’s exterior is fine enough, it’s the spaces within where the project really shines, crafting some wonderful, inventive, and playful spaces that don’t neglect the other senses even as beautiful music is being made within them.

The main hall’s got this expressive ceiling that does triple duty of being a visual focus while also honing the acoustics and providing concealed lighting space.

And if you think I’m going to avoid mentioning the pipe organ on the back wall, well, not a chance!

Even better, there is an entire hall dedicated for pipe organ recitals!  The extra tall space, accented by the recessed wood “arches” and clerestory windows does a perfect job of drawing attention to the instrument of choice, which itself is nicely contrasted yet complemented by the white lattice over the sound-absorbing wall, the tracery paring well with the leaf motif on the light wood organ.

But for me the greatest of these three is the fiery red recital hall, not the least of which because it is both asymmetrical and angled in floor plan, but also for the unusual feature of the giant windows that extend outward from the building’s façade, casting strong light over the stage and bringing out the complex geometries of the wall acoustic treatments, whether red on the one side or deep wood on the other.

There’s lots of great details and design twists happening throughout the new building, where nearly every space has been considered as spaces for performances.  On the whole it’s a grand and exciting performance venue.

The Voxman Music Building by LMN Architects