Going into June 2012, the energetics are indicating it’s time to quietly step away from these common questions, and move forward as a conscious creator without hinderance, but it would be a good time to look at the Artist’s Questions:
Did i do a good enough job? Is this too much/not enough? Is it going to reach enough people? More than anything, is it worth all this massive effort or am I wasting my money/time?
I have asked all those questions, and variations therof, from time to time, so I can say that the results are: less art. Less quality art. Less finished works. Manifestational difficulty in creating/producing the work. Temporal hesitation. Great ideas coming and going unproduced. Sometimes the more unique/different/difficult work gets these questions more, while the less challenging, safer, more familiar work gets this treatment less. I’m not the only one who’s had those questions. The results, in the world, are as mentioned. Now more than ever is a time to show the artists you care (so that they make more). Yet it is also time for the artists to care less about if anyone seems to care (art is needed in sensitive, historically important times).
“History is HIStory, the present is MYstory, and the present is open.”
An enlightening, informative and often humorous Roundtable discussion on ideas for creating a conscious network for change in a local community. The challanges faced are discussed also. Mostly it’s a chance to hear some brilliant, cutting edge thinkers and doers get together and have this conversation.
Global Ashland Roundtable: New Economic Models; Solutions in Challenges
Section a. Introductions
Topics discussed (look ’em up online for more exploration!) include roundtable introductions, Davin Infinity, travels, Damenhar, Europe, ancient native american indian ceremonial grounds, energy vortex places, Harbin Hot Springs, Ashland Oregon, Mount Shasta California. Avalon, Mysts of Avalon, the blade and the chalice. Barbara Marx Hubbard, the 12 Pillars of Human Endeavor, Grael Corsini, the Goddess Temple. sacred masculine, New Warrior Training. Hollywood, LA, film, actors, PR. People Like Us, the four frees, the caravaning. Newswire, local radio, Mother Nature Says Clean Up Your Room, fundraising. Barry Tillman, closing Circle. Copyrights and Facebook.
Section b. New Economic Models
Will Cooper, film, The Divine Feminine, Catie Faryl, databasing, business plans. Noiyeh Nous Faith, Numerology, 88, 89, Aleister Crowley, The Book of Lies. Networking, spreadsheets, contacts. Alternative currency, complentary currency. Food, farmers markets, food banks. Cosmic Matters, the Horizon Institute, festivals, dance parties. Sedona Arizona, angel music. Johnny Liberty, Ashland Resource Center, documentaries, film screenings, videos, interactive blogs. Monetizing inspirational products, plants. Teaching, speaking, tours, tour guides, ancient sites, mystical experiences. Mary Magdalene tours, ancient Egypt tours. Sacred retreats. Time and currency. Old money, Chambeer of Commerce, Rotary Club, Elks Club, gatherings, lectures, protests, city councils, homelessness.
c. Solutions in Challenges
Conclusion of the discussion (there’s more!).
[This year and beyond is all about new economic models and new ways of relating from the global to the local, and I know all about having ideas that are ahead of their time, and what it’s all starting to be about is a shift in the time to where they can come into being and thrive. It’s exiting.]
This roundtable took place in August of 2011. For more information about the community, click ashlandresourcecenter.com
The New Economy, the book (click for link/excerpt)
Also, since Barbara Marx Hubbard was mentioned in the roundtable, and because I came across this syncronistically while putting this post together, I would urge listeners to also check out this mp3 because its one of those interviews that covers a ton of ground in one episode, pretty awesome.
[Thursday morning, 3-May 2012.] This morning I felt my feet. These dry, cracked and heavily calloused feet are representative of my past physical experience. These recordings, this video, these writings and songs are but collected crystals, crystallization of the precious drops of healing sustenance that have been received in this earthwalk. Speaking for myself, I do not mean to somehow portray that this is what I see every day, on every street, in every voice of every heart. It is through effort of connection to Divine Mind or higher mind-higher heart that one can experience something akin to this every day, within; then the desire is to not come back down so much. These Precious Drops, crystallized, are revelations and representations of what could be more common as man-woman wakes up on the inside. My feet say, for the bulk of the life it has been move move move, walk walk walk, see see see, no reason to rest, so to speak. Yet higher minder-higher heart says it is glad that I am here, to present these Precious Drops, for all who care to receive them, as revelation of what could and can be, and in a time and place, with certain others, actually is.
So how does this become more common and how can we help lift those who are dedicated to this cause? In the recording that will follow this is one, recorded last summer, we will hear a roundtable discuss this conundrum and they present the points that are here, as well, in different wording.
One concept that clear to me in my mind is that the old world operates in an amoral format, right down to the symbolic representations on the money itself. It says, this paper is your bond, this is your value in the world of transactions. Further, its media and art also present this amorality; for that which is popular, that which does sell, is good. The most prevalent message, what people want to hear at a particular time, aye, this is the right message, they say. Thus we already see how an amoral structure lets that which is immoral in the back door, if not the front door (as it is often “popular” when sold well). Corruption follows all amoral structures; we should not be surprised when we look at any structure that presents itself as amoral, and find back-room dealings and corruption. Surely, the examples are there, in current times and in history, and are voluminous. Surely we remember the lives lost, the millions, across time and across the world, the information suppression of the last Age. Surely this is no longer a surprise to us, and surely we can understand how that which presents itself with a moral grounding, tends to be marginalized in an amoral society; there’s simply little use for it and little value to be seen in it from that perspective. The exceptions which made it through the gate have been, for those who value them, the precious drops.
I suppose my hope is, that by sharing these Precious Drops, we can reach those who find them of value in whatever town or country they may be, and perhaps by being aware of the like-minded people in these recordings in this media presented here and elsewhere, we can foster a demand if you will for this type of media and these ideas among those who do value them or as I say, those who GAF (Give-A-Flip). Maybe when enough people who GAF are aware of each other, around the world, we can support each other in ways that benefit ourselves. We don’t desire to leech off each other or milk each other dry for funds, which is what can happen if the population of GAFs is too small; we dream of a smooth process where much is shared freely, yet all thrive.
Just something’ to think on as time goes forward. The next post will present in audio from, a roundtable of men and women who do GAF speaking on these same issues (including the money issue) in a specific local context which represents the broader conundrum, so we can think on it some more. I came across it while thinking about these subjects, which fit with the energy of the times.
The Pairabowls are a touring band from Eugene, Oregon.
In this novel field recording, Jelani and Jesh from the Pairabowls, along with Michael and Fritz, walk through Peace Village with cameras and recorder in tow, looking for “The Don” to see if they can play the festival (Don Diego). Geurilla mobile stage options are discussed. Michael relates the story of the mobile set-up jam party at Mystic Garden (Mystic Garden Jam Session). Instead of finding the Don they meet stage manager Michelle (Michelle Bellamy). Eugene Oregon, the T Club, the Lorax mentioned (the People Like Us Project shot footage at the Lorax). The guys meet up with the rest of the band outside the gate. Recent Purple Van riders and recent stay in Vegas mentioned; DefCon, BrewFest, Hempfest, Burning Man. Toward the end of the recording, the conversation spirals out of this dimension when Crystal comes up and talks about her Sacred Geometric Rhythm-inspired art (filmed Crystal making art later). Intuition and inspiration, time, the movement of water, the movement of the earth, wobble, spin, the nature of being. Consciousness vs focalized awareness, the macro and micro alignments. Nature’s rule in whole measurements, sensitiveness and expansion. Cameras, Lithia Park, the faeirie ponds.
At the end, on their way to the van, a Mercedes backs up suddenly and very nearly hits two band members.
Amazing live instrumental gypsy music runs in the background throughout.
55 minutes. In Stereo. The theme music is by missmagikal.
The People Like Us Project 
Time to tackle the big questions.
The Artist’s Question
Going into June 2012, the energetics are indicating it’s time to quietly step away from these common questions, and move forward as a conscious creator without hinderance, but it would be a good time to look at the Artist’s Questions:
Did i do a good enough job? Is this too much/not enough? Is it going to reach enough people? More than anything, is it worth all this massive effort or am I wasting my money/time?
I have asked all those questions, and variations therof, from time to time, so I can say that the results are: less art. Less quality art. Less finished works. Manifestational difficulty in creating/producing the work. Temporal hesitation. Great ideas coming and going unproduced. Sometimes the more unique/different/difficult work gets these questions more, while the less challenging, safer, more familiar work gets this treatment less. I’m not the only one who’s had those questions. The results, in the world, are as mentioned. Now more than ever is a time to show the artists you care (so that they make more). Yet it is also time for the artists to care less about if anyone seems to care (art is needed in sensitive, historically important times).
“History is HIStory, the present is MYstory, and the present is open.”
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