futurism - 3 Quarks Daily

by Evan Edwards

Nan-in

There’s a zen koan about master Nan-in and a younger monk, Tenno, who had been studying with his teacher for ten years. Tradition went that a student had to study this long before they were qualified to begin teaching, and Nan-in had invited Tenno over for tea to celebrate his pupilship coming to an end. Since it was raining that day, Tenno wore clogs and brought an umbrella, and left them by the door when he entered Nan-in’s home. After his guest had sat down, Nan-in asked Tenno, “I assume that since it is raining, you brought an umbrella. Correct? And did you put it on the left or the right of your clogs?” When he didn’t have an immediate answer, Tenno stood up and returned to the monastery in order to continue as a student for six more years.

The story is usually interpreted as an illustration of the value of attention and, more importantly, what we might call ‘awareness.’ Because Tenno was unable to recall the position of his umbrella, or perhaps better, because he was unaware of how he had arranged his things in the other room, he was not practicing “every-minute zen.” In other koans, the theme of the significance of attention and awareness return again and again. A student asked Master Ichu to write him something of great wisdom. Ichu took up his pen and wrote “attention.” The student asked Ichu what “attention” meant, and he responded that “attention means attention.” This theme seems to be so recurrent because, as individuals in the Vipassana school argue, nirvana, as a kind of “Budda-consciousness,” has to do with a particular state of vijnana, or “consciousness.” This kind of consciousness is a state of perfect awareness.

Certain strains of ecology and western environmental philosophy, also, stress the importance of awareness. In the work of Henry David Thoreau, we see an intense attention to nature that has been described by several commentators as an attempt to integrate himself more fully, and therefore live more authentically, within the web of life. Read more »

by Gautam Pemmaraju

I have always loved locomotives passionately. For me they are living creatures and I love them as others love women or horses.

—Arthur Honegger

Kraftwerk-trans-europe-express The influential electronic music artists Kraftwerk, saw their 1977 concept album Trans-Europe Express as a symbol of a unified Europe, a “sonic poem” enabling a moving away from the troubled legacy of the war, and particularly, of Nazi Germany. The dark spectre of the Third Reich and their militaristic high speed road construction was often linked to the band’s fourth studio album Autobahn, although the band saw it, in part, as a “European rejoinder to American ‘keep on trucking’” songs. The French journalist and friend to the band, Paul Alessandrini, had apparently suggested the idea of the train as a thematic base (See the wikipedia entry): “With the kind of music you do, which is kind of like an electronic blues, railway stations and trains are very important in your universe, you should do a song about the Trans-Europe Express”. Described as embodying “a new sense of European identity”, the album was destined to become a seminal work of the band, not just in fusing a qausi-utopian political idea with their sonic aura, at once popular, idiosyncratic and profoundly influential, but also in ‘reclaiming the train’, which chugs across “borders that had been fought over”. In response to Kraftwerk’s espousal of European integration, band member Karl Batos says here,

We were much more interested in it at that time than being Germans because we had been confronted by this German identity so much in the States, with everyone greeting us with the 'heil Hitler' salutes. They were just making fun and jokes and not being very serious but we'd had enough of this idea.

The chugging beat, “ripe with unlikely hooks, and hypnotic, minimalist arrangements” is in ways an ideological amplification of the idea of Autobahn, referencing the transport networks of Germany, and seeking in its “propulsive proto electro groove…a high speed velocity transit away from the horrors of Nazism and World War II”. There was, however, as Pascal Bussy writes in Kraftwerk: Man, Machine, Music (1993), a formidable nationalism underlying their somewhat nebulous politics. Kraftwerk believed, as Hütter is quoted saying to the American journalist Lester Bangs in 1975, that they were unlike other contemporary German bands which tended to be Anglo-American; they wanted instead to be known as German since the “the German mentality, which is more advanced, will always be part of our behaviour”.

Tag: futurism

On Awareness, pt. 1

Monday, October 22, 2012

Locomotif: A short survey of trains, music & experiments