the experimental meditation center of los angeles
LOCATION / DIRECTIONS
the experimental meditation center of los angeles has no center.
THE EXPERIMENTAL MEDITATION DATABASE
please check out, and contribute to, the experimental meditation database, hosted at Upload .. Download .. Perform . net
the experimental meditation center of los angeles is a frame[work], a magic circle, a safe space, a temporary autonomous zone, a performance space, ... for the facilitation of artist-led meditations.
our definition of meditation is loose, areligious, and open to many gentle forms. in fact, we believe that the notion of "experimental meditation" is redundant, in that all meditation is an experiment in shifting our perceptions. experimental meditations at emcla are often facilitated through some form of focused activity, engaged in by groups or individuals, in a variety of physical and non-physical locations. we approach each meditation with humility and the wisdom that its ultimate social and aesthetic purpose needn't always be understood immediately, or ever.
this definition is simply a starting point and may be too narrow for certain forms yet unknown to us, therefore we welcome meditations that update our current understanding of what meditation acts and feels like...
activities at emcla differ from session to session, each featuring new artist-facilitators and practices. they favor the playful, the experimental, and the temporary over the fanatical, dogmatic, and proselytic, gentleness over violence or aggressiveness, and seek to reinforce the magical and connective undertakings we artists are already engaging with on a daily basis.
the experimental meditation center of los angeles has no center, though these days it often convenes at the home of adam overton.
artists are welcome to submit proposals for future experimental meditation sessions to email@example.com
on experimental meditation
During the first year that Mr. Wordsworth and I were neighbours, our conversations turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination. The sudden charm, which accidents of light and shade, which moon-light or sun-set diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of nature. The thought suggested itself (to which of us I do not recollect) that a series of poems might be composed of two sorts. In the one, the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency. For the second class, subjects were to be chosen from ordinary life; the characters and incidents were to be such, as will be found in every village and its vicinity, where there is a meditative and feeling mind to seek after them, or to notice them, when they present themselves.
In this idea originated the plan of the 'Lyrical Ballads'; in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth on the other hand was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which in consequence of the film of familiarity and selfish solicitude we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand.
– Samuel Taylor Coleridge, Biographia Literaria, 1817
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... These nomads chart their courses by strange stars, which might be luminous clusters of data in cyberspace, or perhaps hallucinations. Lay down a map of the land; over that, set a map of political change; over that, a map of the Net, especially the counter-Net with its emphasis on clandestine information-flow and logistics—and finally, over all, the 1:1 map of the creative imagination, aesthetics, values. The resultant grid comes to life, animated by unexpected eddies and surges of energy, coagulations of light, secret tunnels, surprises...
... The "Free Religions" as I like to call them—small, self-created, half-serious/half-fun cults influenced by such currents as Discordianism and anarcho-Taosim—are to be found all over marginal America and provide a growing "fourth way" outside the mainstream churches, the televangelical bigots, and New Age vapidity and consumerism. It might also be said that the chief refusal of orthodoxy consists of the construction of "private moralities" in the Nietzschean sense: the spirituality of "free spirits."
– Hakim Bey, excerpts from The Temporary Autonomous Zone, 1990
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One can read philosophers of religion without having to sign up to their metaphysical commitments. To jettison those traditions in the name of some kind of scientific rationality is simply philistine and counterproductive, so it becomes a question of inhabiting and mobilizing religion for interesting or radical ends. For me, the question that religion allows us to think is the question of human commonality, of being together. What I want is religion without God, where religion is understood as a form of association.
– A Kind of Faith: Dan Fox talking to Simon Critchley about community, collaboration, avant-garde rituals and being 'religious without religion' , Frieze, November–December 2010
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What if I were to think art was just paying attention?
– Allan Kaprow, "The Real Experiment", Essays on the Blurring of Art and Life
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How To Improve The World [You Will Only Make Matters Worse]
– John Cage, title of a piece in X: writings '79-'82
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Whatever you want to believe.
- Ron Amitron of the Creation Lightship, responding to a heckler at the Conscious Life Expo 2011
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... Guru Mics ...
last updated 10 June 2013, at 04:39 PM PDT