Friday, 14 December 2012

OUGD405 - Research, Collect, Communicate

Firstly, after receiving my research topic of 'Buddhism', I decided to go onto the internet to find out the basics and then from that, plan how to research further.

I went onto the BBC website as I feel it is a reliable source:

"Buddhism is a spiritual tradition that focuses on personal spiritual development and the attainment of a deep insight into the true nature of life. There are 376 million followers worldwide.
Buddhists seek to reach a state of nirvana, following the path of the Buddha, Siddhartha Gautama, who went on a quest for Enlightenment around the sixth century BC.
There is no belief in a personal god. Buddhists believe that nothing is fixed or permanent and that change is always possible. The path to Enlightenment is through the practice and development of morality, meditation and wisdom.
Buddhists believe that life is both endless and subject to impermanence, suffering and uncertainty. These states are called the tilakhana, or the three signs of existence. Existence is endless because individuals are reincarnated over and over again, experiencing suffering throughout many lives.
It is impermanent because no state, good or bad, lasts forever. Our mistaken belief that things can last is a chief cause of suffering." 
"The Buddha
Siddhartha Gautama, the Buddha, was born into a royal family in present-day Nepal over 2500 years ago. He lived a life of privilege and luxury until one day he left the royal enclosure and encountered for the first time, an old man, a sick man, and a corpse. Disturbed by this he became a monk before adopting the harsh poverty of Indian asceticism. Neither path satisfied him and he decided to pursue the ‘Middle Way’ - a life without luxury but also without poverty.
Buddhists believe that one day, seated beneath the Bodhi tree (the tree of awakening), Siddhartha became deeply absorbed in meditation and reflected on his experience of life until he became enlightened.
By finding the path to enlightenment, Siddhartha was led from the pain of suffering and rebirth towards the path of enlightenment and became known as the Buddha or 'awakened one'."
Visual Research about the Buddha: 


http://home.swipnet.se/gostaratna/Buddha17.jpg


http://blog.tsemtulku.com/wp-content/uploads/2010/06/buddha.jpg


http://thecostaricanews.com/wp-content/uploads/2012/06/The-Buddha.jpg


http://www.bubsoc.org/wp-content/uploads/2009/11/gautama-buddha.jpg


http://bhikkhucintita.files.wordpress.com/2012/02/buddha.gif



http://www.craftsinindia.com/newcraftsimages/BRASS0013PL.jpg


http://www.kalsangdawa.com/gallery/medicinebuddhaazure.jpg


http://www.chinapictures.org/images/yunnan/1/yunnan-40116100646656.jpg


http://us.123rf.com/400wm/400/400/kobchaima/kobchaima1105/kobchaima110500060/9665201-chinese-buddha-statue-at-the-thai-temple-thailand.jpg

There are slight differentiations in the appearance of the Buddha according to the cultural and geographical interpretations of Buddhism ie Thai, Chinese, Japanese, & Indian Buddhism all visualise the Buddha in a different way. For example: Chinese Buddhism tend to portray him slightly fatter than other portrayals.


"Key facts

  • Buddhism is 2,500 years old
  • There are currently 376 million followers worldwide
  • There are over 150,000 Buddhists in Britain
  • Buddhism arose as a result of Siddhartha Gautama's quest for Enlightenment in around the 6th Century BC
  • There is no belief in a personal God. It is not centred on the relationship between humanity and God
  • Buddhists believe that nothing is fixed or permanent - change is always possible
  • The two main Buddhist sects are Theravada Buddhism andMahayana Buddhism, but there are many more
  • Buddhists can worship both at home or at a temple
  • The path to Enlightenment is through the practice and development of morality, meditation and wisdom."

"The Four Noble Truths

Statue of BuddhaStatue of Buddha, 1st-2nd century CE, Afghanistan ©
"I teach suffering, its origin, cessation and path. That's all I teach", declared the Buddha 2500 years ago.

The Four Noble Truths contain the essence of the Buddha's teachings. It was these four principles that the Buddha came to understand during his meditation under the bodhi tree.

  1. The truth of suffering (Dukkha)
  2. The truth of the origin of suffering (Samudāya)
  3. The truth of the cessation of suffering (Nirodha)
  4. The truth of the path to the cessation of suffering (Magga)"



What I have come to learn from this passage


The first Noble truth - the truth of suffering

From reading further into the 4 noble truths on this page, I have come to understand that Buddhists believe that the root of suffering, (other than the obvious causes of old age, sickness and death), starts with the fact that human beings are subject to desires and cravings. Meaning that because life fails to live up to our expectations, we are not satisfied and unfulfilled. Once we have come to understand the truth of suffering, we can learn how to cope with suffering by changing our outlook on life in a non-pessimistic, but realistic way.

The second Noble Truth - Desire is the root of evil - Tanhā

The Buddha teaches the origin of suffering through the 3 roots of evil/ the 3 fires/ the 3 poisons. These are greed/ desire, ignorance/ delusion, hatred/ destructive urges. All are represented visually in art through animals. Greed being a rooster, Ignorance being a pig and hatred being a snake.
"Language note: Tanhā is a term in Pali, the language of the Buddhist scriptures, that specifically means craving or misplaced desire. Buddhists recognise that there can be positive desires, such as desire for enlightenment and good wishes for others. A neutral term for such desires is chanda."

"The Fire Sermon


The Buddha taught more about suffering in the Fire Sermon, delivered to a thousand bhikkus (Buddhist monks).

Bhikkhus, all is burning. And what is the all that is burning?
The eye is burning, forms are burning, eye-consciousness is burning, eye-contact is burning, also whatever is felt as pleasant or painful or neither-painful-nor-pleasant that arises with eye-contact for its indispensable condition, that too is burning. Burning with what? Burning with the fire of lust, with the fire of hate, with the fire of delusion. I say it is burning with birth, aging and death, with sorrows, with lamentations, with pains, with griefs, with despairs.
The Fire Sermon (SN 35:28), translation by N̄anamoli Thera. © 1981 Buddhist Publication Society, used with permission


The Buddha went on to say the same of the other four senses, and the mind, showing that attachment to positive, negative and neutral sensations and thoughts is the cause of suffering."
The Third Noble Truth - Cessation of suffering - Nirodha
Because the Buddha taught that the root of evil and suffering comes from human beings attachment to desire, he also taught that human beings must detach themselves from feelings of desire, 'the possibility of liberation'. Buddhists know that Buddha was living proof that freedom from desire was possible during a human beings lifetime.
(taken from the BBC website)
Bhikkhus, when a noble follower who has heard (the truth) sees thus, he finds estrangement in the eye, finds estrangement in forms, finds estrangement in eye-consciousness, finds estrangement in eye-contact, and whatever is felt as pleasant or painful or neither-painful- nor-pleasant that arises with eye-contact for its indispensable condition, in that too he finds estrangement.
The Fire Sermon (SN 35:28), translation by N̄anamoli Thera. © 1981 Buddhist Publication Society, used with permission
"Estrangement" here means disenchantment: a Buddhist aims to know sense conditions clearly as they are without becoming enchanted or misled by them.
By extinguishing the 3 fires of evil and by becoming liberated from desire, a Buddhist can reach a state of Nirvana. 
"Someone who reaches nirvana does not immediately disappear to a heavenly realm. Nirvana is better understood as a state of mind that humans can reach. It is a state of profound spiritual joy, without negative emotions and fears.
Someone who has attained enlightenment is filled with compassion for all living things.
After death an enlightened person is liberated from the cycle of rebirth, but Buddhism gives no definite answers as to what happens next.
The Buddha discouraged his followers from asking too many questions about nirvana. He wanted them to concentrate on the task at hand, which was freeing themselves from the cycle of suffering. Asking questions is like quibbling with the doctor who is trying to save your life."
The fourth Noble Truth - The Path to the Cessation of Suffering
Buddha teaches how to reach the state of Nirvana through the Eightfold Path, represented in art through a ships wheel with 8 spindles. The Eightfold Path can also be referred to as the Middle way, a way of living not in poverty nor luxury.
Eight principles of the Middle Way:
1. Right understanding - Sammā ditthi
2. Right intention - Sammā san̄kappa
3. Right Speech - Sammā vācā
4. Right Action - Sammā kammanta
5. Right Livelihood - Sammā ājīva
6. Right Effort - Sammā vāyāma
7. Right Mindfulness - Sammā sati
8. Right Concentration - Sammā samādhi
These 8 principles are not to be taken in stages, but to all be made aware of at one time. They outline the key states of being that are heartly required to reach the state of Nirvana. 
"The eight stages can be grouped into Wisdom (right understanding and intention), Ethical Conduct (right speech, action and livelihood) and Meditation (right effort, mindfulness and concentration).
The Buddha described the Eightfold Path as a means to enlightenment, like a raft for crossing a river. Once one has reached the opposite shore, one no longer needs the raft and can leave it behind."
The four Noble truths are just the main essence of Buddha's teachings. With this in mind, I decided to visit as many Buddhists centres as possible, starting with a local Buddhist Centre in Northwich, Cheshire.
I didn't know what to expect at first. From my quick internet searches I rather stereotypically imagined a grand temple inhabited my monks but I got a real insight into modern Buddhism when discovering it was a converted house like my own. It was really interesting to see how such a radical, multi-cultural religion has been interpreted for an english society and landscape:



The leader of this Buddhist centre was absent, and so the man present there was unable to tell me much about the centre but kindly gave me a leaflet and told me to arrange a time to see the leader. 
I wanted to explore some more centres, but decided to visit ones in an inner city, with the impression that these may be busier or more like what I had imagined.
I searched the internet for Buddhist centres in Liverpool as I felt that inner city centres might be bigger because of a possibly bigger audience. Here are the ones I visited: 
  • Duldzin Kadampa Buddhist Centre, 25 Aigburth Drive, Liverpool, L17 4JH
  • Diamond Way Buddhism Liverpool, 61 Newsham Drive, Liverpool
  • Kagyu Shedup Ling Buddhist Group, The Old Police Station, 80 Lark Lane, Aigburth, Liverpool, L17 8UU
The first of these centres I decided to visit was the Duldzin Kadampa Buddhist centre in Liverpool. It's location was much more what I had expected: on the edge of peaceful Sefton Park. I rang the doorbell and a resident named Amy answered. She kindly agreed to give me a quick tour of the downstairs rooms and tell me a little about what goes on here.

The entrance hall was very welcoming and calm. There were many advertising leaflets and timetables to take away. I was asked to remove my shoes as we proceeded into the prayer room. Amy said that this was for respect and hygiene. I did not take any pictures in the prayer room because I was not sure if this would be OK and so this image was found on the Duldzin Kadampa website:



There was a large statue at the front of the Buddha in the Lotus praying position with several glasses of water in front of him. Amy briefly discussed that although they were offerings to the Buddha, he is content with what he has and that they are normally laid out for the Buddhists themselves. 
Beautiful artwork adorned the walls with an image of a man in traditional ceremonial robes of whom later I learnt is Venerable Geshe Kelsang Gyatso, the founder of the New Kadampa Tradition.


The Meditation Shop

"Our Meditation Shop is open throughout the year and provides everything you need to support your meditation practise and/or your exploration of the Buddhist way of life. From books on meditation & Buddhism (for all levels) to meditation cushions, offering bowls, Buddha statues and meditation gifts, you can find everything you need to support and sustain your daily practise." - taken from the Duldzin Kadampa Website.






 Amy was able to tell me about prayer beads - one would use them to count 'Mantra' - a ritual used concentrate while praying. 
I purchased one of the postcards as I thought it had great visual quality:






Different kinds of Buddhism:

  • Theraveda
  • Mahayana
  • Tibetan
  • kadampa
  • ....


Leaflets found in the Meditation store :























I find it interesting how this religion is advertised almost like an object or a none-spiritual practice: "discover inner peace"



engaging sessions to help one learn more about buddhism and it's practices rather than just meditation / prayers:



torma: 
"Torma (Skt: Balingta, Tib: Tor-ma, Wylie: gtor ma) are figures made mostly of flour and butter used in tantric rituals or as offerings in Tibetan Buddhism. They may be dyed in different colors, often with white or red for the main body of the torma. They are made in specific shapes based on their purpose, usually conical in form. A very large, central shrine torma may be constructed for festivals, though typically they are small and placed directly on a shrine, on a plate, mounted on leather[1] or held on a special base like a skull.[2]"

- source Wikipedia




Symbols in Buddhism 



The lotus flower


"The lotus flower represents one symbol of fortune in Buddhism. It grows in muddy water, and it is this environment that gives forth the flower’s first and most literal meaning: rising and blooming above the murk to achieve enlightenment.

The second meaning, which is related to the first is purification. It resembles the purifying of the spirit which is born into murkiness. The third meaning refers to faithfulness. Those who are working to rise above the muddy waters will need to be faithful followers."
source : "http://buddhists.org/buddhist-symbols/the-meaning-of-the-lotus-flower-in-buddhism/"

Om symbol

"In Buddhism it is used in mantras and dhāranis

A deeper insight into this mystic symbol reveals that it is composed of three syllables combined into one, not like a physical mixture but more like a chemical combination. Indeed in Sanskrit the vowel 'o' is constitutionally a diphthong compound of a + u; hence OM is representatively written as AUM.


Fittingly, the symbol of AUM consists of three curves (curves 1, 2, and 3), one semicircle (curve 4), and a dot.

The large lower curve 1 symbolizes the waking state (jagrat), in this state the consciousness is turned outwards through the gates of the senses. The larger size signifies that this is the most common ('majority') state of the human consciousness.

The upper curve 2 denotes the state of deep sleep (sushupti) or the unconscious state. This is a state where the sleeper desires nothing nor beholds any dream.

The middle curve 3 (which lies between deep sleep and the waking state) signifies the dream state (swapna). In this state the consciousness of the individual is turned inwards, and the dreaming self beholds an enthralling view of the world behind the lids of the eyes.

These are the three states of an individual's consciousness, and since Indian mystic thought believes the entire manifested reality to spring from this consciousness, these three curves therefore represent the entire physical phenomenon.

The dot signifies the fourth state of consciousness, known in Sanskrit as turiya. In this state the consciousness looks neither outwards nor inwards, nor the two together. It signifies the coming to rest of all differentiated, relative existence This utterly quiet, peaceful and blissful state is the ultimate aim of all spiritual activity. This Absolute (non-relative) state illuminates the other three states.

Finally, the semi circle symbolizes maya and separates the dot from the other three curves. Thus it is the illusion of maya that prevents us from the realization of this highest state of bliss. The semi circle is open at the top, and does not touch the dot. This means that this highest state is not affected by maya. Maya only affects the manifested phenomenon. This effect is that of preventing the seeker from reaching his ultimate goal, the realization of the One, all-pervading, unmanifest, Absolute principle. In this manner, the form of OM
represents both the unmanifest and the manifest, the noumenon and the phenomenon.

As a sacred sound also, the pronunciation of the three-syllabled AUM is open to a rich logical analysis.

The first alphabet A is regarded as the primal sound, independent of cultural contexts. It is produced at the back of the open mouth, and is therefore said to include, and to be included in, every other sound produced by the human vocal organs. Indeed A is the first letter of the Sanskrit alphabet.

The open mouth of A moves toward the closure of M. Between is U, formed of the openness of A but shaped by the closing lips. Here it must be recalled that as interpreted in relation to the three curves, the three syllables making up AUM are susceptible to the same metaphorical decipherment. The dream state (symbolized by U), lies between the waking state (A) and the state of deep sleep (M). Indeed a dream is but the compound of the consciousness of waking life shaped by the unconsciousness of sleep.

AUM thus also encompasses within itself the complete alphabet, since its utterance proceeds from the back of the mouth (A), travelling in between (U), and finally reaching the lips (M). Now all alphabets can be classified under various heads depending upon the area of the mouth from which they are uttered. The two ends between which the complete alphabet oscillates are the back of the mouth to the lips; both embraced in the simple act of uttering of AUM.

The last part of the sound AUM (the M) known as ma or makar, when pronounced makes the lips close. This is like locking the door to the outside world and instead reaching deep inside our own selves, in search for the Ultimate truth.

But over and above the threefold nature of OM as a sacred sound is the invisible fourth dimension which cannot be distinguished by our sense organs restricted as they are to material observations. This fourth state is the unutterable, soundless silence that follows the uttering of OM. A quieting down of all the differentiated manifestations, i.e. a peaceful-blissful and non-dual state. Indeed this is the state symbolized by the dot in the traditional iconography of AUM."



Wheel of Dharma


Prayer Beads



I emailed a friend's relative who is a Buddhist, Jonathon Ashton, to find out about Buddhism on a personal level:


1. How long have you been a Buddhist?

You could say: on and off since 1993.
 
Often people would say "I'm a Buddhist" when they've decided to "go
for refuge" and maybe even done a formal ceremony to acknowledge that.
(I'd personally say,though, "How far are you really going for
refuge?") In 1993, I got to the point of saying, "Yes, I am going for
refuge now I believe from experience that Buddhism must be true. Even
though I haven't really experienced its depths, I can see they should
be there and that there should be a path to them and I'll try and
follow it.  However, I personally think of myself of a Buddhist to the
extent that I'm practicing - it's not like Christianity where you can
sign up and that's it, you're either following/trying to follow the
path, or act in accordance with what you discover as the true nature
of reality, or you aren't doing any of that.  And when you're doing
so, you're still only doing it to the extent that you're doing it. So,
for me, the question would be "How far am I a Buddhist - at the moment
and in general?" That's the kind of way someone from the Triratna
Buddhist Community might see "being a Buddhist", btw.
 
Ringu Tulku Rinpoche says that, given that most of Buddhism isn't
accessible to people at the start,  the only thing you really need to
believe to become a Buddhist is that you can change. He's one of my
main teachers, but I don't personally find that a complete enough
answer.
 
2. What type/ kind /division of Buddhism are you involved in?

I'm basically a Tibetan Buddhist.  The practices I do, the teachers I
go and see and by and large my "religious" thoughts about life and
dealing with it are Tibetan Buddhist.  However, I've done some
practice in the Therevaddin, the Triratna Buddhist Community and Zen
traditions, as well. (I know various other people who've done the
same.)
 
A word on the differences.  Enlightenment is enlightenment, the basic
nature of things is the basic nature of things.  (Perhaps not everyone
would 100% agree on this, but it would be a commonly held viewpoint.)
However, the ordinary human mind is hard to work with and there are
many different approaches and views about doing so.  There are many
different things that are thought helpful in "waking up". So, one can
have a difference of opinion about what's most useful, or an evolution
of techniques over time. This is the kind of sense in which the
schools of Buddhism are different. My teacher Lama Yeshe Rinpoche has
put it this way: 'Some people make great pasta and pasta is great.
Some people make great porridge and porridge is great.  However, you
wouldn't want to be making pasta and porridge as the same dish.  You
have to choose which you are going to make and learn from someone who
knows how to make it." Occasionally you'll meet Buddhist
fundamentalists regarding their way of doing things - just as you'll
meet teachers who passionately regard their approach as the most
effective.  However, the respect for other schools that Lama RInpoche
shows above is pretty common in the West.  Another point about
different schools and lineages.  Buddhist teachings are passed in a
chain from teacher to student.  So again, there are lots of different
chains of transmission.
 
By the way, the most common language used in the West is "school" of
Buddhism, which I think is helpful.  In the West there is a commonly
shared view that there shouldn't be too many beliefs in Buddhism (as
evidenced by the great popularity of a book titled "Buddhism Without
beliefs"!) - it's about learning how things are, principally in the
West from experience, though logical analysis can be used. It's then
about what to do about how things are, again from experience. In
countries where Buddhists grow up in a widely shared popular religious
culture that is almost in their bones, it tends to operate differently
(I suspect they might get quicker results with their students that
way).
3. Why did you become a Buddhist? What got you into Buddhism?

Firstly, aged 16 I stepped back from Christianity because I thought it
would be hard to view the issue of religion and values objectively
while I was practicing. (This is not to nay say Christianity.  I
actually now have a very high opinion of serious, practicing
Christians such as my Mum as a result of my Buddhist practice. I have
read some very inspiring interviews with leading Christians, esp.
Christian mystics and enjoyed working in an administrative role at The
Salvation Army.)
 
Secondly, I suffered quite badly from depression on and off in my
first year at university, drinking heavily, having problems with
suicidal thoughts, etc - and then again later, after I left.  (I've
never told Roxanne that, btw, but you are welcome to mention it if you
want, I'm not embarrassed.) Buddhism did three things that helped with
my mental health:
* The practices helped me to handle, or with other practices to
overcome, my depression (which has been good for my faith - meaning my
ability to trust Buddhism and put some weight on it, if you like).  In
particular, I did a lot of practice to generate more loving kindness
towards myself and all other beings.  It's not possible to
simultaneously be angry and destructive and to be loving.  So, as you
can imagine that was one thing that helped a lot in uprooting the
seeds of the depression.
* The depression was aggravated by a nihilistic sense that there was
no reliable, final value in the world.  I'd been a very postmodern
young man and had found the idea that everything I believed was
dependent on my own history cultural background to be very threatening
to my foundations for believing there's a meaningful reason to do good
and be good, rather than it just being something that people do, maybe
out of convenience or misunderstanding.  My experience as a Buddhist
gave me an anchor and (mixing metaphors) a compass for my life as a
would-be good person.  Even when, to my mind, I'm not a Buddhist in
the sense of doing lots of meditation or something, I can now still be
doing good in the world for an unchallengeable reason - and that's of
great value to me.
* Buddhism also made my depression useful.  I could actively
incorporate it into my practice (as a way into empathy with others in
the same situation) and I could become a better person through it.
Having a grasp of depression, anxiety, low self worth or despair has
since become very useful: I've worked for a number of charities and
had various mentally ill friends where it helped. My practice has
helped that been a gateway to being able to do that without my
memories and traces of those feelings being so much threatening things
that I had to avoid.  When the possibility first started to become
real of being able to transcend and include depression as part of a
meaningful life, through my practice, it was very beautiful and
wonderful and extremely good for my faith!
 
Thirdly, I was very Green at the time and Buddhism was a good
philosophical fit with my strong interest in holistic worldviews and
systems theory. (I can go into that if you want, but it might be a bit
abstruse!) Buddhism fits well at a gut level with Postmodern
sensibilities, too - though the language hasn't fully caught up, yet.
(I can go into academic attempts to do so, if you are at all
interested.)
 
> 4. Do you attend any places of worship? How often? What is involved in these visits?
>
Right now, no.  I'm not practicing very much and have been avoiding my
local temple out of embarrassment!
 
However, since 1992 I'd generally have gone to a Buddhist group at
least once a week.  There, a typical session of each school in the
West that I've attended would be composed as follows:
 
a. Tibetan Buddhism
 
Either -
Some silent meditation - either guided by the teacher or using your
own practice.  Sometimes the silent practice might be composed or
interspersed with period of walking meditation. There will always be a
short prayer at the start and the end, to help develop the best
motivation for the meditation and so that you dedicate the benefit of
it in a useful way, too.
OR - a talk - which is usually didactic in approach.  Some teachers
tack a bit of meditation onto the front of the talk.  Again, initial
and final prayers would be the norm.
OR - a "puja" such as "Chenrezig", "Amitabha", "Tara" (look "puja" up
online) - once a month with tsok (offerings).   This is the very
colourful end of Tibetan Buddhism and the kind of practices that
aren't (or often aren't) in the other traditions.
 
People generally hang out and chat a bit either before or afterwards.
Occasionally this is actively encouraged through a break in the
middle, but not generally.
 
b. FWBO
 
Two sessions with a tea break in the middle.
1. Meditation, which is usually silent and may be guided or not
2. Either
* More meditation
* Or a teaching - which is generally more discursive and less didactic
than in Tibetan Buddhism generally is
* Or occasionally a "puja" (look it up)
 
c. Zen
 
I haven't practiced this so much, but it has been:
 
Two sessions with a tea break in the middle. Whether this is a
standard thing I don't know, it's just been my experience.
1. Meditation, which is silent and may be guided or not
2. Either
* More meditation
* Or a teaching - which is generally more didactic
 
d. Therevaddin Buddhism
 
Either -
Some silent meditation - either guided by the teacher or using your
own practice.  Sometimes the silent practice might be composed or
interspersed with period of walking meditation. There will always be a
short prayer at the start and the end, to help develop the best
motivation for the meditation and so that you dedicate the benefit of
it in a useful way, too.
Or (in the Forest Sangha tradition):
Silent meditation. Prayers at the beginning to help develop an
appropriate frame of mind would be the norm.
Plus a talk, if there is a senior monk present - which is usually
didactic in approach.  .
Plus generally maybe 10 or 20 minutes of traditional prayers
 
People generally hang out and chat a bit either before or afterwards.
 
 
Note: the range of meditation practices used in the different schools
is maybe the single biggest difference between them.
 
 
 5. What would it take (attitude / lifestyle) to become a Buddhist?

See Q.1. and Q.7
 
Another important issue is not to take so much regarding how things
are for granted.  The assumptions we consciously and subconsciously
make are an important problem that Buddhism seeks to overcome and an
important challenge to effective practice.

 6. Why would you recommend about the Buddhist lifestyle?

The Dalai Lama said "My religion is kindness" and I do believe that's
the whole point of doing it.
Buddhism is about training the mind and practicing virtue well.  One
should do the things that are part of it that work for the individual.
 You have sometimes to treat yourself as an experiment - trying things
out for a while to see if they do genuinely help in your own case.
However, it's supposed to be about what you find works. If you aren't
doing much that is clearly Buddhist you'd have to ask yourself "Am I
really a Buddhist or am I just kidding myself?" However, after
accepting that, for me personally, "the Buddhist lifestyle" is what
makes you a better person.
 
People today are very outwardly focused - except in exceptional
circumstances, such as when they try and grapple with something like a
major emotional upheaval.  However, when it comes to why we choose to
do things and how we go about them, it is hugely important where we
actually come from and how we perceive, including emotionally perceive
- things.  To take an extreme example: to me, a lot of very selfish
people, or very blinkered and materially driven people, are completely
wasting much of their whole lives - and they may go through their
whole life barely noticing that how they spend their time is not just
bad but even completely irrelevant and meaningless.  They couldn't
comprehend that that might be the case because they are locked into it
at a deep level and don't even realize that they have no freedom. You
can see that from the Big Mind sessions.  However, Elizabeth
Kubler-Ross, the great figure in the hospice movement, observed that
even very successful people, when they are dying, usually have no
interest in their achievements.  Their preoccupations about their
lives are more "Have I loved?" and "Have I been loved?" In the face of
impermanence, everything else starts to fall away. (Btw - my
experience is that if you want to think deeply about death and what is
of value in the face of it, I recommend you do so only in small doses
and when relaxed.)
 
At the moment I'm living a pretty worldly life, with lots of
distractions with very little point. If there really is meaning to
life, then all I'm doing is getting older - and even going backwards
in some respects terms of spiritual progress. In a sense, that's a
monumental waste of time, which I do find troubling.  The spiritual
life is sometimes hard (my main teachers wouldn't want it to be hard
most of the time) but done properly I've almost always found it at
least interesting and fulfilling. Paradoxically, even the boredom that
comes with sitting for long hours on retreat becomes interesting!
 
 7. How different is a Buddhist lifestyle to a none-religious lifestyle? (If you've known both, of course)

Firstly, see Q1.
 
A fairly serious Buddhist practitioner living in the West might well
gradually build up to doing at least one session of meditation a day,
which often might be between 45 minutes and a couple of hours a day
depending on factors such as the tradition and their teacher's view.
They may well go on retreat once or a number of times a year.  They
will probably go to a Buddhist Centre of some kind once a week.  They
may well have take various training commitments that help to live well
- such as not to tell lies. Most likely it will impact on the other
life choices they make - for example, practitioners tend to lead lives
that seem socially useful. They are usually more generous as
individuals (something that would be encouraged). Most choose to be
vegetarians.
 
This is a key difference between most Christians and most genuinely
pretty committed Buddhists, for example - when you start trying to
change your mind and your heart to become a better person, a common
experience is to find that it's possible but requires a lot more time
commitment than expected.
 
The art is not to let it become oppressive!  If you're "a better
person" then of course that is time consuming but it is oppressive,
you're very likely doing something in some sense wrong (and wasting a
lot of time in just generating suffering and a fixed mind!) Kindness
to oneself and others gradually comes to be seen as simply
commonsense.  I feel one should make commitments from a state of
wealth - that actually,you have precious things you value and you are
much better off not messing yourself around because you feel better
and everything feels more meaningful.  Take generosity.  Being
generous can often seem like a burden in the West - something you do
out of or obligation, maybe. If you find you can do the Big Mind
process on your own, try being the voice of generosity.  Trungpa
Rinpoche said "Generosity is self-existing openness, complete
openness". You'll find that there's nothing constricted or oppressive
about being the voice of generosity. Loving kindness is usually a
warm, grounded, open and commonsensical experience and generosity is
close to that.
 
That said, as a practitioner one is sometimes put in positions where
one may be exposed to the worst of oneself within the training and one
has to grow by meeting it with love, wisdom and (in a sense)
acceptance.  That can be horrible at the time, however you only do it
according to your skills and sense that you can do it - and it isn't
necessarily horrible, sometimes it can be utterly amazing.  However,
you do it only because it is an opportunity to grow, not out of
religious faith, duty or some kind of wierd masochism.
 
A few points to balance the emphasis on the demands on time, above.
Firstly, many teachers have said to me that ten minutes of meditation
a day is better than nothing. Also,I have heard a few very senior
teachers recommend particular practices as particularly well suited to
and transformative for people living packed, busy lives.  Also, even
though I'm not doing much right now, I'm still in various ways a very
different and better person as a result of my previous efforts.

 8. Are you required to wear anything specific for your practices? Why?

Personally,not really. It's usually key to try to relax.  So, less
restrictive garments are generally recommended.
Monks and priests and in some traditions sometimes people on retreat
do have particular clothing.  I don't know why, really.

 9. Are there any important pilgrimages specific to Buddhism? Do you have any personal pilgrimages?

I've never done any, so I can't comment.  Some people have done them
and found them very useful.

 10. And finally, anything else you'd like to tell me!

Thubten Chodron did a very clear book, that I could annotate with
notes about how the other traditions differ and send you.

He also sent me a few videos on Buddhism:


Links to Big Mind process
 
The Big Mind Process is is not classical Buddhism. It doesn't exist in
any of the ancient, mainstream traditions and you would need to be a
little careful where you might cite it in an essay, if you did.
However, it was developed and has been tested by Zen practitioners
with excellent credentials and it does gives little glimpses of
transcendent experience, which mean you can better answer many of your
own questions about Buddhism!  I suggest you try a couple of videos
and have a go. I personally stop such videos at appropriate points and
try and speak as the voices (e.g., you can say out loud "As
seeking/non-seeking mind, I..." and speak about what you observe as
that voice.  Fake it 'til you make it, as Genpo Roshi says!)
 
http://www.youtube.com/watch?v=JYjknUXy6hM This is a super-short one,
which will take you ten mins - maybe 20 if you start and stop the
video a lot. It's not a bad starting point, if you can get it. Note:
the states that you access might only be a small aspect of the
enlightened mind, but it does help a bit.
 
http://www.youtube.com/watch?v=IkNrvs6ay0g This is a much longer one,
going into, for example, the nature of compassion a bit more.
Important note: the sections about worldly mind states such as "The
Gatekeeper" are not Buddhism in the way that it would normally be
understood.  They're more like therapy or Western psychology.  They do
happen to be very useful for facilitating the Big Mind Process, in the
sense of touching the transcendent states, though. The sections that
involve integrating the mundane and the Big Mind-type states are also
very useful for appreciating what it's really like to be successful
spiritual practitioner.
 
http://www.meditationplex.com/big-mind-meditation/big-mind-meditationat-the-buddhist-geeks-conference/
Also a long one!
 
 
The Conception of the Buddha:

"Now the Bodhisattva enters his mother's womb in the form of a white elephant, but here we encounter a little problem in that we are not informed at what moment he exchanges his animal form for a human one. The Chinese thought they solved this problem by showing the Bodhisattva as entering his mother's womb "mounted on an elephant" as shown in Figure 2, the Chinese painting of the same scene. One more point that attracts our attention is that at this decisive moment of conception Maya is always shown alone on her couch; her husband is always absent. This restraint can be attributed to the religious belief of the time that everything having to do with the birth of the Buddha be physically and morally pure. This preoccupation with moral purity is carried over to the second act, the birth of the Buddha."




Wednesday, 12 December 2012

OUGD401 - Defining the Avante Garde & Avante Garde Cinema Lecture notes

Defining the Avant Garde

What do we define as the Avant Garde? What is Avant Garde? The term is inappropriately used everywhere!
Doing/ producing innovative/ progressive art/ design. Or being part of an Avant Garde group/ scene. Avant Garde is a rebellious, challenging of conventions, weird and confrontational response to the current goings-on of the time. It has a different voice to the crowd.

What does the word Avant Garde mean?
the advance in garde/ guard. Or the 'van garde' which is the term given traditionally to the elitist group of superior army troops that are stronger and lead the rest of the pack.

Examples of an Avant Garde movement: 

  • Fauvism 
  • Romanticism - celebrates a unique style. Artists were a more special, creative genius than those who do not understand their work. Superior figures because of others lack of understanding of them.



We need to ask ourselves, although our institution, Leeds College of Art prospectus promotes the Avant Garde, is institutional curricular art/design genuine Avant Garde anyway?

'Nocturn in black & gold: the falling rocket', 1875, by Whistler is Avant Garde in it's aesthetics. Criticised as "art for art's sake".


By the end of the 19th/ early 20th century, there were 2 approaches to what people defined as the Avant Garde:
  1. Socially committed artists
  2. Crazy/ weird aesthetics


'Art & Significant Form', 1913, by Clive Bell, an art critic of the time wrote his opinions of the Avant Garde:
"It is improbable that more nonsense has been written about aesthetics than about anything else: the literature of the subject is not large enough for that. It is certain, however, that about no subject with which I am acquainted has so little been said that is at all to the purpose. The explanation is discoverable. He who would elaborate a plausible theory of aesthetics must possess two qualities — artistic sensibility and a turn for clear thinking. Without sensibility a man can have no aesthetic experience, and, obviously, theories not based on broad and deep aesthetic experience are worthless."

'Mount St Victoire', 1900, Paul Cezanne

'Lavender mist', 1950, Jackson Pollock


Starling banned avant garde in Soviet Russia because the majority of people couldn't understand it. The problem with Avant Garde is it necessitates elitism.

Kitsch

What is Kitsch?
Commercial art that intentionally aims to be high culture but isn't equipped with the proper tools and materials to achieve this and so fails and is classed as 'tacky'. It was/is used by art critics to determine the differences between high and low culture. Everything that isn't Avant Garde was classed as Kitsch.

'Haywain', Constable is classed as high culture art. But when printed onto a dinner plate as a collectable, this is considered low culture as it turns the art into a cheap product.



'Praying hands', by Durer is a high culture piece of art but as a sculpture of this as decorative art is considered low culture.




However, there are some (postmodern) artists that celebrate the tackiness of Kitsch, and so are classed as Avant Garde Kitsch:

  • Damien Hirst - doesn't make his own work, only comes up with the ideas.
  • Jeff Koons
  • 'Equivalent VIII' , Carl Andre
  • the K foundation's award for the worst artist of all time



Avante Garde Cinema:

  • In opposition to mainstream cinema
  • non-linear/ non-figurative/ non-narrative plots
  • open storyline rather than closed with questionable endings
  • requires a different kind of spectatorship
Examples of Avante Garde Cinema:


  • 'Un Chien Andalou', (1929) Dir Luis Bunuel - Very influential, perhaps 'the starting point'
  • 'Cremaster Cyde', (2002) Matthew Barney 
  • 'Spirals', (1926) Oscar Fischinger
  • 'Lapis', (1966) James Whitney
  • 'Black Ice', (1994) Stan Brakhage
  • 'Mothlight', 1963 Stan Brakhage
  • 'Window water baby moving', Stan Brakhage
  • 'Empire', Andy Warhol - 10 & 1/2 hours of static film of the Empire state building from a window.

Monday, 10 December 2012

OUGD405 - 'How to' Research into gym/ exercise graphics

For Our How-to Brief, we had to 'get someone to try something new' We decided to try to get lazy students to get fit and active.


For the research, we started to look into health and fitness graphics. I started looking at different reference photographs for my illustrations.

Ideas for colour schemes/ style:

We liked this colour scheme but it possibly looks too professional?

I really like the style of illustration in this in the way that it is just a basic outline with little to no shadow detail. The bright colour of orange draws immediate attention and envisions 'energy'.

The colour scheme in this says modern and clean. The chrome perhaps makes it look too industry based? We have to bear in mind that these exercises are to be done in one's bedroom at home. I really like the logo though because of it's simplicity.

Though iconic, in my opinion this logo is somewhat dated because of it's bold lettering and neon colours. We want something not quite so stark but that still says 'exercise'.

I really like the simplicity of these images, but the strength of the message that they portray is ultimately clear. I prefer the blue to the pink, because blue is technically unisex but pink is primarily feminine, and we want to appeal to both men and women.

These illustrations are clean and easy to read, which is the key. We will not be doing hand drawn illustrations for our final product. 

This is the logo that inspired our chosen colour scheme because we felt that it was the most modern, sleek, fresh and contemporary. We later felt that it lacked a sense of youth and didn't appeal to the unmotivated characters of our target market. We added a bright orange to make it more eye catching and appealing.
 Illustration Inspiration:






We decided upon these exercises because they were relatively easy (we tried them out as a group!), and that they required no equipment or copious amounts of time to execute, which would appeal to our audience.

I chose to use these images instead of the others I had found because they were the most clear because they were taken from a definite, understandable angle. They also had, when required, clear images of the other positions in the exercise. I decided to illustrate all of the positions and have them all in the same image, but with the moving positions just as outlines, so that they all looked like a single image, and so matched the last image, which had no other positions.

Research into apps:




The front page of the app on the left is really nice because it's not totally clinical, and the illustrations encourage exercise outside of the gym, which would appeal more to our target audience.
The app on the right is very informative and easy to understand. 
We hope to combine both of these elements into our app.



I really like the menu on the left because it not only includes a written description of the exercise, but a little pictoral icon to go with it. Being visual as well as written will assist the user. I think we should also include the time it will take to execute the exercise, as it may surprise the user into how little time it takes, and persuade them to doing the exercise.




We think that a good feature of the app would be a stopwatch, so the user can time themselves at each move, and test to see if they can push themselves further and further. I think that this feature should not be separate from the exercise page, because the user will have to be looking at both at the same time.
All of the features on the app on the right inspired some of the ideas we came up with for our app/



I really like the pictorial version of this stopwatch, it is a lot more interesting in design than the previous one I looked at.


Wednesday, 5 December 2012

OUGD401 - The Auteur Lecture notes

'The Auteur' - Film Lecture

What is an auteur?
In film criticismauteur theory holds that a director's film reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through all kinds of studio interference and through the collective process.

Examples of auteurs:

  • Alfred Hitchcock
  • Stanley Kubrick
Auteurs are like artists, they create original work, start conventions of genre but don't even necessarily follow them and have control over a cultural production.

Notes on the 'Auteur Theory' by Sarris (1962)

'one of these productions will show technical competence of the director'
'a distinguished style'
'interior of the meaning'

Alfred Hitchcock

Why is Hitchcock classed as an Auteur?
  • Long career in film
  • Famous in both Europe and America
  • Has made innovation in film making
  • Master of suspense and audience reception
  • Influential in later genres: American slashers/ psychological thrillers
  • Inspired by the Avante Garde
  • One of a kind and distinctive style
Hitchcock's technical competence:
  • expressionist lighting
  • story telling visually in a silent era of film
  • use of subjective camera
  • dolly zoom
  • clever use of montage to create tension despite production code "what is drama but life with the dull bits cut out?"

"blondes make the best victims. They're like virgin snow that shows up bloody footprints"

Personal Style:
  • expressionism - forms evoke emotion -not realistic or natural
  • cameo appearances of the director
  • narrative through visuals
  • continuous of certain actors
  • obsessive of blonde actresses
  • suspense - audience can see danger his characters can't see - "there's no terror in the bang of the gun"
Revisited themes:
  • Ordinary people involved in extraordinary events
  • Mistaken identity
  • Murder
  • Madness
  • Psychotic
  • Order/ chaos
  • Search for identity
  • Guilt/ desire
  • Feeling of guilt
  • Self destruction
  • Gender politics
  • Spectators/ spying/ obscure viewpoints
  • nature of cinema

The 'Interior meaning'
eg, in Vertigo, there is a deeper meaning of the 'ever living'
eg, birds are a symbol of doom in his films. Birds also feature in lots of different birds eye view camera angles


Example of the 'dolly zoom';



A brief history of Hitchcock:

Around 1920 Hitchcock joined the film industry, as he starting drawing off the sets.

'Nosferatu', 1922, suggesting monstrous beast through shadow.

'The lodger', 1927 by Hitchcock. One of his first films.

'Champagne', 1928 - a character sees their loved one kissing someone else through the bottom of a champagne flute - obscure and interesting camera angles.

'Jamaica Inn' - subjective camera angles.

'Vertigo', 1958 - innovative camera zoom , ie the 'dolly zoom'

'Psycho', 1960

'Rebeca', 1940

'Spellbound' - collaboration with Salvador Dali

'Notorious'



Notes from watching 'Vertigo':
  • Theme of voyeurism.
  •  trauma and its effects decent into madness
  •  subjective point of view
  • Repetition of scenes
  • Theme of uncanny likeness, hair of real life person not unlike to characters favoured painting.
  • Theme of surreal madness
  • coloured filter on camera lense
  • Judy - accidental meaning, dressed in green.
  • Judy - uncanny likeness to madeleine.
  • Character transforms Judy into madeleine. 
  • colour is used in symbolic/ expressionistic way.
--------

Critique of the Auteur title:
  • Mostly males
  • canon of films made by 'elites'
  • is there such thing as a universal film opinion?
  • Capitalist device
  • Disguises work of others

Tuesday, 4 December 2012

OUGD401 - Art, Graphic Design & 'Value' Seminar

Art, Graphic Design & 'Value' Seminar

Q - What do you think are the main differences between fine art and graphic design? Answer in your own words.

A - Graphic design solves problems of communication and has a broad, general, public audience, more so than fine art. Fine art isn't as structured or pushed for time and maybe is more expressive because of this. If graphic design doesn't make sense, it is unsuccessful whereas if fine art doesn't make sense, it only provokes more intrigue. Fine art is static and easily dated whereas graphic design (most of the time) is timeless.

General statements from collaborated answers from the class;

"Perhaps fine art is still ghost of elitist and high culture"

"Graphic design is made by the people for the people"

Arisman, M. (2003): 'Is there fine art to illustration?'
  1. Fine art is pure
  2. Illustration is the beginning of selling art
  3. Graphic Design is commercial art
  4. Advertising is selling - period.

Art vs. Graphic Design - some examples to think about and provoke discussion

  • ambiguity or complexity of meaning
  • the designer as wage labourer
  • cultural significance
  • expression and individuality 
  • creativity/ problem solving
  • function
Ambiguity or complexity of meaning;
Fine art
  • Sigmar Polke (1969)
  • Monet (1882)
Graphic Design
  • David Carson
  • Allen Hori (1989)
The designer as wage labourer;
Some pieces in fine art such as 'For the love of God' by Damien Hirst are made by paid craftsmen and other specialists under the management of the artist.

Cultural Significance;
Constable (1821) The Haywain - in this image, there was workers revolt and the happiness of workers in the image isn't true!

Monetary Value;
Van Gogh - Sunflowers (1888) was sold in 1987 in Christies, London to Yasuo Goto, Yasuda Comp.
Picasso - Les nocos de Pierrette (1905) was sold in 1989, Binoche et Godeau, Paris Tomonori.

Expression and Individuality;
Jackson Pollocks piece from 1947


OUGD405 - Postcard designs - research

Research for Postcard designs

After looking at a few postcard designs, I have decided that high quality photographic art is more useful to research into, because it's more relatable to my subject matter.


The ever-decreasing circle design fills the whole of this image, rather than just a focal point. I also like the fact that it is off centre, and that there is little to no colour so that your just focus on the lighting.

The crescent in this image is a more interesting take on the original circle shape. My postcards could vary in layout for interest.

The high contrast lighting works really well in this image,  I could use the levels or curves tool in Photoshop to achieve this.

In contrast to the other images, the strong use of colour in this image works really well and highlights the circles against the plain background.

The little use of colour in this looks great against the dull background, the halo of light bringing your eye around the circle. The unusual use of perspective has been created using photoshop, which is something I could consider for my designs.