By Norman Fischer
Raised in a Conservative Jewish kinfolk, Fischer embraced the dual practices of Zen Buddhism and leading edge poetics in San Francisco within the early Nineteen Seventies. His paintings comprises unique poetry, descriptions of Buddhist perform, translations of the Hebrew psalms, and eclectic writings on a number themes from Homer to Heidegger to Kabbalah. either Buddhist priest and player in avant-garde poetry’s Language stream, Fischer has limned the fertile affinities and inventive contradictions among Zen and writing, collecting 4 many years of wealthy insights he stocks in Experience.
Fischer’s paintings has been deeply enriched via his collaborations with best rabbis, poets, artists, esteemed Zen Buddhist practitioners, Trappist clergymen, and well known Buddhist leaders, between them the Dalai Lama. by myself and with others, he has carried on a deep and sustained research into the intersection of writing and cognizance as knowledgeable through meditation.
The essays during this artfully curated assortment variety throughout divers, interesting themes corresponding to time, the center Sutra, God within the Hebrew psalms, the preferrred “uselessness” of artwork making, “late paintings” as a class of poetic appreciation, and the sophisticated and doubtful concept of “religious experience.” From the theoretical to the revealingly own, Fischer’s essays, interviews, and notes element towards a dramatic enlargement of the experience of spiritual feeling in writing.
Readers who sign up for Fischer in this direction in Experience can observe how language isn't an outline of expertise, yet quite an event itself: moving, indefinite, and essential.
Read or Download Experience : thinking, writing, language, and religion PDF
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Extra resources for Experience : thinking, writing, language, and religion
6. Nothing, no one, is an image, is clear, is without context, straightforward, fixed, subject to exact expression by means of technique. , that touches the storehouse of images and triggers it, opens it up, then you can produce art that can be desired, described, bought and sold, and you can become famous and make a lot of money because the image, the description, the commodity, the clear perception, sells well in a mass market. 7. But nothing is like that. I want art so realistic nobody can tell what it is.
So their art ended up to some extent in a separate category from other calligraphers: they were valued for their “Zen spirit” more than for their expertise, and, I suppose, for better or worse, this is true of my poetry as well. I don’t know if my poems are art. I would hope they are useful. I would hope that a poet will gain courage and direction from them and that a nonpoet (if there really are any of these) will feel some warm understanding and realistic company, and will occasionally be brought up short by something that suddenly seems quite true, though you can’t tell why.
She probably won’t pay. 8. ” Piet Groat I N T H E A M ER IC A N W E S T 31 [a Zen friend, husband of the dancer, artist, and calligrapher the late Jennie Hunter Groat] writes that Avedon “sees with a compassionate eye. He is able to communicate to these people who volunteered to sit for him, that he is telling the truth about their lives, if they will let him. ” I don’t deny this. I think it’s unfortunate that I can’t deny it. 9. In his notes on the exhibition, Richard Avedon states, “A portrait photographer depends upon another person to complete his picture.
Experience : thinking, writing, language, and religion by Norman Fischer