Breath Matters – Richard Rohr

from Richard Rohr’s ‘Hidden Things: Scripture As Spirituality’ as what he says calls for our reflection today.
“God’s eternal mystery cannot be captured or controlled, but only received and spoken as freely as the breath itself–the one single thing we have done since the moment we were born and will one day cease to do in this body! God is as available and accessible as our breath itself and no religion is going to be able to portion that out, control it or say who gets it.

Is not that the very meaning of Jesus’ dramatic breathing on them after the Resurrection (John 20:22)? The Spirit has been definitively promised by Jesus and is as available as the very air of life! You can stop reading this book now, because nothing else I might say will be any better than that.” (p.130)

http://reflectionsofanrscj.blogspot.co.uk/2008/02/blog-post.html

Transcend but include – Ken Wilber

“Transcending the ego” thus actually means to transcend but include the ego in a deeper and higher embrace, first in the soul or deeper psychic, then with the Witness or primordial Self, then with each previous stage taken up, enfolded, included, and embraced in the radiance of One Taste.

And that means we do not “get rid” of the small ego, but rather, we inhabit it fully, live it with verve, use it as the necessary vehicle through which higher truths are communicated.

Soul and Spirit include body, emotions, and mind; they do not erase them.

Ken Wilber

Source: The Essential Ken Wilber: An Introductory Reader., Pages: 33

SEVEN FACTORS OF ENLIGHTENMENT In Buddhism the Seven…

SEVEN FACTORS OF ENLIGHTENMENT

In Buddhism, the Seven Factors of Enlightenment are:

MINDFULNESS (sati) i.e. to remember the Dhamma.
INVESTIGATION (dhamma vicaya) of the Dhamma.
ENERGY (viriya)
JOY or rapture (pīti)
RELAXATION or tranquility (passaddhi) of both body and mind
CONCENTRATION (samādhi) a calm, one-pointed state of concentration of mind[1]
EQUANIMITY (upekkha), to be able to face life in all its vicissitudes with calm of mind and tranquility, without disturbance, with dispassion and detachment.

This set of seven enlightenment factors is one of the “Seven Sets” of “Enlightenment-related states” (bodhipakkhiyadhamma).

The Pali word bojjhanga is a compound of bodhi (“enlightenment”) and anga (“factor”).[2]

From Wikipedia, the free encyclopedia – see ‘Seven Factors of Enlightenment’
Part of a series on
Buddhism

We are knee deep in a river searching…

We are knee deep in a river, searching for water. We are part of an invisible river, but we are so distracted by outer things and what we imagine they could mean to us that we lose contact with the source of our own being.
Kabir Edmund Helminski, Living Presence (1992), p. 25

COMFORT O God! Refresh and gladden my sp…

COMFORT

O God! Refresh and gladden my spirit. Purify my heart. Illumine my powers. I lay all my affairs in Thy hand. Thou art my Guide and my Refuge. I will no longer be sorrowful and grieved; I will be a happy and joyful being. O God! I will no longer be full of anxiety, nor will I let trouble harass me. I will not dwell on the unpleasant things of life.
O God! Thou art more friend to me than I am to myself. I dedicate myself to Thee, O Lord.

‘Abdu’l-Bahá

Croce’s Aesthetics First published Sun …

Croce’s Aesthetics – http://plato.stanford.edu/entries/croce-aesthetics/#FouDomSpiMin
First published Sun May 4, 2008; substantive revision Mon Aug 31, 2009

The Neapolitan Benedetto Croce (1860–1952) was a dominant figure in the first half of the twentieth century in aesthetics and literary criticism as well as philosophy generally, but his fame did not last, in either Italy or the English speaking world. He did not lack promulgators and willing translators into English; H. Carr was an early example of the former, R. G. Collingwood was both, and D. Ainslie did the latter service for most of Croce’s principal works. But his star rapidly declined after the Second World War. Indeed it is hard to find a figure whose reputation has fallen so far and so quickly; the fact is somewhat unfair not least because Collingwood’s aesthetics is still studied, when it is mostly borrowed from Croce. The causes are a matter for speculation, but two are likely. First, Croce’s general philosophy was very much of the preceding century. As the idealistic and historicist systems of Bradley, Green, and Joachim were in Britain superseded by Russell and Ayer and analytical philosophy, Croce’s system was swept away by new ideas on the continent—from Heidegger on the one hand to deconstructionism on the other. Second, Croce’s manner of presentation in his famous early works now seems, not to put too fine a point on it, dismissively dogmatic; it is full of the youthful conviction and fury that seldom wears well. On certain key points, opposing positions are characterized as foolish, or as confused expressions of simple truths that only waited upon Croce to articulate properly. Of course, these dismissals carry some weight—Croce’s reading is prodigious and there is more insight beneath the words than initially meets the eye—but unless the reader were already convinced that here at last is the truth, their sheer number and vehemence will arouse mistrust. And since the early works, along with his long running editorship of the journal La Critica, rocketed him to such fame and admiration, whereas later years were devoted among other things to battling with while being tolerated by fascists, it’s not surprising that he never quite lost this habit.

Nevertheless, Croce’s signal contribution to aesthetics—that art is expression—can be more or less be detached from the surrounding philosophy and polemics. In what follows, we will first see the doctrine as connected to its original philosophical context, then we will attempt to snip the connections.

* 1. The Four Domains of Spirit (or Mind)
* 2. The Primacy of the Aesthetic
* 3. Art and Aesthetics
* 4. Intuition and Expression
o 4.1 The Double Ideality of the Work of Art
o 4.2 The Role of Feeling
o 4.3 Feeling, Expression and the Commonplace
* 5. Natural Expression, Beauty and Hedonic Theory
* 6. Externalization
* 7. Judgement, Criticism and Taste
* 8. The Identity of Art and Language
* 9. Later Developments
* 10. Problems
o 10.1 Acting versus Contemplation
o 10.2 Privacy
o 10.3 The View of Language
* 11. Conclusion
* Bibliography
o Primary Sources
o Secondary Sources
* Other Internet Resources
* Related Entries