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About joeblast

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    vi veri veniversum vivus vici
  1. Paintings with a Wow Factor

    In the original I recall reading, it was just the two of them with Zeuxis conceding and mentioning just that
  2. Paintings with a Wow Factor

    I had to post that old tale in response to this one
  3. Paintings with a Wow Factor

    There were two famous painters in ancient Greece, Zeuxis and Parrhasios. Each was at the pinnacle of his abilities, no one knew how to choose between them. They, however, decided to resolve the issue for once and for all, with a “painting duel” held under strictly controlled conditions. They assigned themselves two areas of a wall, each invisible from the other so that they might work in private. Each artist was to paint a mural, a fresco of pigment in wet plaster. A carefully assembled audience-jury was to view both paintings and award one the prize, ending forever the tedious and insoluble rivalry. Zeuxis was actually thought to have the edge in this contest. While his paintings were not ultimately judged better than Parrhasios's, they always had a strong initial effect. They could “knock your eyes out,” as they say, by using the tricks of trompe-l'oeil, or super-realism. Parrhasios knew the same tricks but was more subtle. You got to like his paintings because of their time-release effects, which sometimes made them less likable in the beginning. Parrhasios, subtler and probably more talented because his works took time and endured, was ironically less likely to win out over Zeuxis, who was a master of initial surprise. The contest was really about Parrhasios's ability to think his way through this dilemma. When it came time to judge the freshly completed paintings, the audience of select critics assembled, and, behind them, a large crowd of onlookers. Zeuxis was outwardly calm and confident. He had produced, he seemed to think, his best work for this crucial occasion. Behind the curtain (it was important to reveal the work all at once) was his life's masterpiece. The spokesman for the jury asked Zeuxis to draw the curtain. When he did, the crowd and jury gasped to see a bowl of fruit, plaintive and simple. How could a great painter be content, in a situation such as this, to paint a bowl of fruit? It was admittedly a finely painted still-life. The glint of light off the pale green surface of the pears made them seem moist and firm. You could practically taste the pomegranates. After a long period of silence, a bird flew down from its vantage point on the top of the wall, straight into the painted bowl of fruit, from which it had hoped to steal a grape. Hitting the wall with a smack, the bird fell to the ground, a victim of illusion. Without a doubt, this proved what the jury and audience could scarcely conclude: that the realism of the painting had made it escape its limits, as artificial; the real judge had been the bird, whom no one could accuse of favoritism. When the gasps of the crowd died away, Zeuxis was sure he had won, no matter what Parrhasios's entry. For what better demonstration could he have hoped? Zeuxis's confidence now caused him to straighten up, breathe deeply, and radiate a newfound humanity, which he turned on to Parrhasios who was standing at the edge of the open circle of onlookers. “Now, let's take a look at the undoubtedly excellent work of Parrhasios. “Now, let's take a look at the undoubtedly excellent work of my esteemed colleague” he suggested, with a tone that suggested he would be magnanimous in his victory, always sending a bit of work Parrhasios's way if his own studio got too busy. Parrhasios feigned or honestly exhibited (one could not say which) a meek but genial tone. Slightly bowed, he did not speak but turned slightly towards the area where his mural was to be revealed. The crowd shuffled and murmured. Zeuxis by now had become their leader. Now standing around Parrhasios's wall, the crowd grew impatient. Even the curtain began to look a bit dowdy. Zeuxis, not wishing to over-embarrass his rival, came forward after a longish interval and directly addressed the painter. “I think,” he said, “it is time to see what you may have done. Would you honor us by drawing the curtain?”“ Can't be done,” Parrhasios replied. The jury, audience, and Zeuxis thought that Parrhasios was at the breaking point, that he was emotionally crushed by the nearness of defeat. “Surely,” Zeuxis put in, trying to soften the blow of the inevitable, “we would be very happy to see your work, but we're getting a bit impatient standing in the hot sun. Just show us the painting.” After a pause, Parrhasios replied, “You're looking at it.” The onlookers focused more carefully on the wall, realizing at last that they were looking at a painting of a curtain.
  4. acquiescence

    from a topological standpoint, absolutely
  5. the references to small heart (or 'original heart') was a mention that the kidneys form before the heart in fetal development...counting down from the top, 7 stops at the junction of cervical and thoracic, not by the heart.....counting from the bottom, that becomes T~11 towards the bottom of the thoracic, which is basically right at the level of the adrenals. ...terminates at the root of the tongue... ...maybe note quite a third, but close enough things like "mingmen is located within the kidneys" I think can be taken too literally...but then the drawing has it inside them, facepalm lol go to page 107...."Pages 86 to 116 are not shown in this preview"...and that other link is entirely in translation:english, on, ....its still all chinese...doh! so I cant really comment on the sources without more digging/translation... but at any rate, I dont think we should treat any of this terminology as absolute. stuff like "mingmen forms before the foetus," or using dantien and mingmen a little too closely, interchangeably....
  6. regarding mingmen, oldie but goodie JOURNAL OF CHINESE MEDICINE NUMBER 40 SEPTEMBER 1992
  7. yeah, we've known this for quite some time, and its all good bro
  8. That's because they dont rise up. Imagine a weight suspended by 4 strings - how does that weight 'rise up?' "All 4 strings pull away from the weight." Similar and analogous arent quite the same word The lower bridge in some regards is similar, but its also very much different. The intention comes at the huiyin - but if you wanted to lift this bridge above, it would be done by pulling its points of attachment. Regarding the is not one monolithic structure... By moving "the perineum," one is naturally, slightly, engaging the internal anal sphincter. Can you tell the difference between actuating your external anal sphincter vs the internal one? I can. Engaging the anus "too much" engages the external anal sphincter, which is analogous to clenching....that last line of defense as you carefully but quickly make your way to the toilet. The internal sphincter is more subtle. The lifting of the perineum can travel "plenty far" and still only engage the internal gently and not the external sphincter. You can see that the external sphincter flows into the levator ani, which is one of those structures I always said to keep relaxed. This gives some logical and differentiable separation between interior and exterior sphincters. Ren and Du emanate from there, what happens when you move a magnet past a coil....that's a part of it... Regarding precision, when I was in the 1:20-1:30 average breath duration range for sessions...I'll just say that past a minute of breath duration, it became absolutely imperative that I hunt down and find every single last possible efficiency to be gained. If there isnt a reason to engage and move a given structure, then let it be as lax as possible. Only the structures that need to move should move, and their movement should be proper. My breathwork came from YMAA embryonic breathing, many anatomy sources, and I knew nothing else for the first 3 years while I trained it, troubleshot my body past many a glass floor/ceiling - ultimately, your body will be able to tell you things that no book or master can really teach you - even if only because "to see, to bleed, cannot be taught." (the real gems in the ymaa book are dr yang's translation sections, where he has a bunch of the ancient text, and beneath, his translation. I'm still a bit ticked that my copy I lent out never found its way back to me and accidentally got donated....all dog eared, highlighted, noted in the sides...well, I think the good thing about that is, its in some Library now, where many people may come across all of that for years to come.)
  9. I dont know how you're getting that anything "moves towards the anus" inhale: huiyin lifts as diaphragm is contracted, and the front of the abdomen is pulled in at the qihai. exhale: relax
  10. the kidneys lie adjacently inferior & anterior to the diaphragm - if one's diaphragm movement is poor, then even if one is sucking in their abdominal wall very far, it will still be less energetic, less stimulating/massaging on the kidneys than when its all properly coherent
  11. its important to time the most energetically potent 'moment'um portions of each structure so that the most energetic positions all happen coincidentally 'when beginning' = when beginning to learn
  12. The internal parts are the more fundamental parts - but I've always said everyone teaches reverse breathing backwards. IMHO when beginning, its the diaphragm and huiyin on the inhale that need to have their timing properly before the front is added in to an appreciable extent. It doesnt actually serve a purpose to suck the abdominal wall in very far. If one is putting primacy on that above the diaphragm & huiyin, then a lot of the efficiency of the breath is wasted.
  13. Cooking up a storm

    I like it almost raw anyway....well, actually, the best is totally raw, I am a sucker for the local sushi specials. when I cook it....usually just some fresh ground sea salt on it if anything at all. and the skin rocks
  14. Cooking up a storm

    was that really what it was!? seems like an awful lot, I thought it was just a sauce you made and poured on it and just didnt mention what it was in that case, it looks like you didnt flip it? if its going to be in a pan, you might as well make use of that stuff and add in a bit of worcestershire and maybe a bit of garlic salt, get the flips in!