ध्यान देकर सुनना Architecture for Our Cultivated Nature Garden (CNG), 2022
Dhyāna dēkara sunanā (ध्यान देकर सुनना) is a hindi word/ verb form that means 'to listen'. Given this word recently and asking about it with colleagues associated with the Building Beauty Program, dhyāna dēkara sunanā appears to be the most appropriate word to describe what was needed to help plan and build the Cultivated Nature Garden (CNG). One knows how to approach the timeless way of building following Christopher Alexander's principles given in Nature of Order (NoO) by applying the time to architectural theory and practice to understand the word further. Anthropologist Savyasaachi sees the NoO by Christopher Alexander as the structure-preserving transformation of QWAN (Quality Without A Name), where QWAN is than Being and being. Dhyāna dēkara sunanā, I believe, allows for this to happen and is what Christopher learned (or didn't) during his time in India.
Why dhyāna dēkara sunanā is needed to understand is because to listen is more than listening. To listen wouldn't be the conscious mind telling a command for the body to follow; instead, another theory is that the cochlea in the ears, as do the eyes with rendering, is responding to light. The word to learn this light or electrical energy is often out of sync within and between itself, in hearing, sight, and the other senses, but this is in order I have witnessed and now believe, to help one really learn something. And like weather, it is a guide (not just an after-effect) of what is allowed or not by the amygdala, which decides if one is allowed to listen or render this offering from the electromagnetic field (EMF) or source internally. The source is what Christopher Alexander is calling God in NoO. An objective and a metaphysical beyond palpable Being (and being). And part of what dhyāna dēkara sunanā, to listen, requires is to acknowledge of this beyond, EMF that we know to process it.
After reading dense Christopher Alexander's theory in NoO the following questions are raised: How can God be wrong if God is (or not)? Why does it have to say anything to be proven to be or not to be? For me, Savyasaachi is saying that QWAN (Quality without a Name)/ QUWAN (Being and being) is not the invention by human, but from humus that grew, grows or did grow our forest(s). I attended class and listened, but I need to stop now as it is no longer time for me to be a student. It is time to leave gracefully from the virtual nest that the Building Beauty course created for me, for which I am grateful. What I am doing now is what I always have been doing, what we all are doing even if we deny it; we are building earth, our luminous ground, which is life. It belongs to everyone regardless of what people might say to manipulate a situation. Life being the full cycle, not more or less. How beautiful to understand this more completely.
Processing unfolds the garden, our ground, then if agreed thru loops of 'emet' and 'null' programs, or does it? 'I' fail false absolution test(s), and 'I' will continue to do so. I am part of the problem if 'I' follow this 'right or off' programming, as did/does the Jesus in the Christian story. A song played this way turns the human spirit into a robot, even if it doesn't mean to do so. And 'I' would be the problem when it comes to this way of approaching architecture. The question of "what has more life" addressed maternally is autonomy within, and it's a situational detail as the question may be hermeneutic, not hierarchical. The majority rules is a misconception, not an immaculate conception of what is being asked and why, especially of women or a her, which is born with a womb, to carry. I have witnessed this question test "of more" applied wrong within anthropology's history and architectural practice. Still, hopefully, it can change if we can continue to allow more light to render other perspectives and not find is there more but is there, where it is, and why we use interpretation to give life that could also be simply called building (real) beauty.
Two cameras can't take the same picture simultaneously from the same position in space. Additionally, two witnesses can't witness the same event from a place in our given area. Reality requires a witness to render it, but in doing so, there would be no example or proof that an objective reality can exist, and none will be able to prove reality is objective. In the paradox, we all render it (time-space and place) differently regardless of what others might have said. In other words, we are not supposed to be mere echo chambers. Yet, it is easier to agree on a shared objective or pattern for a given condition or place. And this may be our actual makeup that Christopher Alexander calls The Nature of Order; it's not a bad 'thing,' and within the Architecture of Being and being here. It's a common ground
I can report on what I have done with the garden up to this point to move forward. Last year, I started by getting attuned to the site. Doing this was before I knew anything about Christopher Alexander or Building Beauty. After acclimatizing to the site, I rediscovered the term QWAN. In his book The Timeless Way of Building, Christopher Alexander coined the acronym in 1979. Of course, as I covered in the previous paragraphs the Quality Without A Name does not come from Christopher, nor did he discover it; it's just there; it's a gift. I checked out The Timeless Way of Building from my local library to read it.
Next, in the garden, I mapped the Field of Centers as the same is done in archaeology. Finding the Field of Centers is the goal archaeology should be, not the thievery application that was and, unfortunately, still remains by bad actors with miseducation from the previous centuries. Don't be a bad actor. I began the intervention for site repair and healing. The work took place from July to early October of 2021 and continues. As fall arrived, I learned about Christopher Alexander, Nature of Order, and Building Beauty and joined the course hoping it could help me with the garden. It took time for the four books to arrive, so I read anything I could find that Christopher had written. It also seems that Nikos Salingaros was an important figure to know, so I watched multiple videos of his lectures about Christopher's works online. These videos directed me to other discussions about architecture and more information.
Multiple feeling maps for me started in November. Colors, after some time, took the form of lines and vice versa and then to what shape and size of the garden was itself. I didn't know what to do at this stage, as it was mid-January, and the 'luminous ground' was frozen, so I tried to engage more in lectures, but I seemed to be in the way of myself with my questions and comments. As the course started to close, I was like, what do they want me to do? Involve everyone, ask for help, show and tell, do more? None of this was correct and is a harder path, so I paused to listen, not knowing what to do to find out what I needed to do, and I did that.
(1) Selected the use of a gothic teardrop arched window to help construct the information box after consultation with Architects Aarti Dhingra and Mayank Pandey supported by Architect, Academician, and Author Narendra Dengle in honor of Professor Munishwar Nath Ashish Ganju. (2) Michael Ellis's four children provided a color scheme and some needed hope to highlight details for the Garden. (3) Jenna Hammerich's project from the first term in NoO inspired a wind chime set to the key of silence. (4) Ravid Peleg's hummingbird rescue created a bath to be placed on the eastern side for the Garden, "yes Aarti- don't worry", to allow for some privacy for the birds. (5) Hermann Paulenz, Sam Tannehill, Shahriar 'Cha Cha' Heshmat, and Michael Lavrisha, making up the rest of the cohort's communication helped to engineer the plan for the grapevine trestle.
With extreme atmospheric pressure again taking back over India (the founding place of the soul) and the rest of the world now in a surreal state beyond the post-industrial to the Covid-19 spectacle, the understanding and practice of dhyāna dēkara sunanā have gone away but has it? If grounded, the source already tells you what needs to happen because an architecture for life is already in continuum. If you remember, it's already complete but only if we want it to go on. The bees are there. The birds return. The flowers are happy. It's a beautiful garden; it always has been; if only we can remember the word itself, dhyāna dēkara sunanā (ध्यान देकर सुनना): to listen.
Why dhyāna dēkara sunanā is needed to understand is because to listen is more than listening. To listen wouldn't be the conscious mind telling a command for the body to follow; instead, another theory is that the cochlea in the ears, as do the eyes with rendering, is responding to light. The word to learn this light or electrical energy is often out of sync within and between itself, in hearing, sight, and the other senses, but this is in order I have witnessed and now believe, to help one really learn something. And like weather, it is a guide (not just an after-effect) of what is allowed or not by the amygdala, which decides if one is allowed to listen or render this offering from the electromagnetic field (EMF) or source internally. The source is what Christopher Alexander is calling God in NoO. An objective and a metaphysical beyond palpable Being (and being). And part of what dhyāna dēkara sunanā, to listen, requires is to acknowledge of this beyond, EMF that we know to process it.
After reading dense Christopher Alexander's theory in NoO the following questions are raised: How can God be wrong if God is (or not)? Why does it have to say anything to be proven to be or not to be? For me, Savyasaachi is saying that QWAN (Quality without a Name)/ QUWAN (Being and being) is not the invention by human, but from humus that grew, grows or did grow our forest(s). I attended class and listened, but I need to stop now as it is no longer time for me to be a student. It is time to leave gracefully from the virtual nest that the Building Beauty course created for me, for which I am grateful. What I am doing now is what I always have been doing, what we all are doing even if we deny it; we are building earth, our luminous ground, which is life. It belongs to everyone regardless of what people might say to manipulate a situation. Life being the full cycle, not more or less. How beautiful to understand this more completely.
Processing unfolds the garden, our ground, then if agreed thru loops of 'emet' and 'null' programs, or does it? 'I' fail false absolution test(s), and 'I' will continue to do so. I am part of the problem if 'I' follow this 'right or off' programming, as did/does the Jesus in the Christian story. A song played this way turns the human spirit into a robot, even if it doesn't mean to do so. And 'I' would be the problem when it comes to this way of approaching architecture. The question of "what has more life" addressed maternally is autonomy within, and it's a situational detail as the question may be hermeneutic, not hierarchical. The majority rules is a misconception, not an immaculate conception of what is being asked and why, especially of women or a her, which is born with a womb, to carry. I have witnessed this question test "of more" applied wrong within anthropology's history and architectural practice. Still, hopefully, it can change if we can continue to allow more light to render other perspectives and not find is there more but is there, where it is, and why we use interpretation to give life that could also be simply called building (real) beauty.
Two cameras can't take the same picture simultaneously from the same position in space. Additionally, two witnesses can't witness the same event from a place in our given area. Reality requires a witness to render it, but in doing so, there would be no example or proof that an objective reality can exist, and none will be able to prove reality is objective. In the paradox, we all render it (time-space and place) differently regardless of what others might have said. In other words, we are not supposed to be mere echo chambers. Yet, it is easier to agree on a shared objective or pattern for a given condition or place. And this may be our actual makeup that Christopher Alexander calls The Nature of Order; it's not a bad 'thing,' and within the Architecture of Being and being here. It's a common ground
I can report on what I have done with the garden up to this point to move forward. Last year, I started by getting attuned to the site. Doing this was before I knew anything about Christopher Alexander or Building Beauty. After acclimatizing to the site, I rediscovered the term QWAN. In his book The Timeless Way of Building, Christopher Alexander coined the acronym in 1979. Of course, as I covered in the previous paragraphs the Quality Without A Name does not come from Christopher, nor did he discover it; it's just there; it's a gift. I checked out The Timeless Way of Building from my local library to read it.
Next, in the garden, I mapped the Field of Centers as the same is done in archaeology. Finding the Field of Centers is the goal archaeology should be, not the thievery application that was and, unfortunately, still remains by bad actors with miseducation from the previous centuries. Don't be a bad actor. I began the intervention for site repair and healing. The work took place from July to early October of 2021 and continues. As fall arrived, I learned about Christopher Alexander, Nature of Order, and Building Beauty and joined the course hoping it could help me with the garden. It took time for the four books to arrive, so I read anything I could find that Christopher had written. It also seems that Nikos Salingaros was an important figure to know, so I watched multiple videos of his lectures about Christopher's works online. These videos directed me to other discussions about architecture and more information.
Multiple feeling maps for me started in November. Colors, after some time, took the form of lines and vice versa and then to what shape and size of the garden was itself. I didn't know what to do at this stage, as it was mid-January, and the 'luminous ground' was frozen, so I tried to engage more in lectures, but I seemed to be in the way of myself with my questions and comments. As the course started to close, I was like, what do they want me to do? Involve everyone, ask for help, show and tell, do more? None of this was correct and is a harder path, so I paused to listen, not knowing what to do to find out what I needed to do, and I did that.
(1) Selected the use of a gothic teardrop arched window to help construct the information box after consultation with Architects Aarti Dhingra and Mayank Pandey supported by Architect, Academician, and Author Narendra Dengle in honor of Professor Munishwar Nath Ashish Ganju. (2) Michael Ellis's four children provided a color scheme and some needed hope to highlight details for the Garden. (3) Jenna Hammerich's project from the first term in NoO inspired a wind chime set to the key of silence. (4) Ravid Peleg's hummingbird rescue created a bath to be placed on the eastern side for the Garden, "yes Aarti- don't worry", to allow for some privacy for the birds. (5) Hermann Paulenz, Sam Tannehill, Shahriar 'Cha Cha' Heshmat, and Michael Lavrisha, making up the rest of the cohort's communication helped to engineer the plan for the grapevine trestle.
With extreme atmospheric pressure again taking back over India (the founding place of the soul) and the rest of the world now in a surreal state beyond the post-industrial to the Covid-19 spectacle, the understanding and practice of dhyāna dēkara sunanā have gone away but has it? If grounded, the source already tells you what needs to happen because an architecture for life is already in continuum. If you remember, it's already complete but only if we want it to go on. The bees are there. The birds return. The flowers are happy. It's a beautiful garden; it always has been; if only we can remember the word itself, dhyāna dēkara sunanā (ध्यान देकर सुनना): to listen.