Sensory Garden Quotes

From the sound of pattering raindrops I recaptured the scent of the lilacs at Combray; from the shifting of the sun's rays on the balcony the pigeons in the Champs-Elysées; from the muffling of sounds in the heat of the morning hours, the cool taste of cherries; the longing for Brittany or Venice from the noise of the wind and the return of Easter. Summer was at hand, the days were long, the weather was warm. It was the season when, early in the morning, pupils and teachers repair to the public gardens to prepare for the final examinations under the trees, seeking to extract the sole drop of coolness vouchsafed by a sky less ardent than in the midday heat but already as sterilely pure.

The majesty of nature is not restricted to canyons and mountains. It can be found in the wilds of perception--the sensory spaces that lie outside our Umwelt and within those of other animals. To perceive the world through other senses is to find splendor in familiarity and the sacred in the mundane. Wonders exist in a backyard garden, where bees take the measure of a flower’s electric fields, leafhoppers send vibrational melodies through the stems of plants, and birds behold the hidden palates of rurples and grurples...Wilderness is not distant. We are continually immersed in it. It is there for us to imagine, to savor and to protect.

Orwell declares, “The Party told you to reject the evidence of your eyes and ears,” which makes direct observations and firsthand encounters in the material and sensory world likewise acts of resistance or at least reinforcements of the self who can resist. To spend time frequently with these direct experiences is clarifying, a way of stepping out of the whirlpools of words and the confusion they can whip up. In an age of lies and illusions, the garden is one way to ground yourself in the realm of the processes of growth and the passage of time, the rules of physics, meteorology, hydrology, and biology, and the realms of the senses.

I unpacked and took a shower, trying to wash the road and a little of my mingled grief and anger off me. Rachel had a point, but was it wrong to want a single, peaceful evening? The smell of roasting hens, peppery and succulent, wafted up the stairs as I got dressed, like a sensory argument for respite. Birchie would serve them with fat slices of the summer’s first heirloom tomatoes from the back garden and her famous cornbread. To make it, she saved bacon drippings in a coffee can by the stove, and she’d put some of that grease into the cast-iron skillet and set it in the oven. She’d make batter while the rendered fat got so hot that it was close to smoking. The sizzle of the batter landing in that pan was the kitchen soundtrack of my youth.

The world outside of me has no meaning independent of my thinking it. (pauses to look) I look out of the window. A garden. Trees. Grass. A young woman in a chair reading a book. I think: chair. So she is sitting. I think: book. So she is reading. Now the young woman touches her hair where it's come undone. But how can we be sure there is a world of phenomena, a woman reading in a garden? Perhaps the only thing that's real is my sensory experience, which has the form of a woman reading- in a universe which is in fact empty! But Immanuel Kant says- no! Because what I perceive as reality includes concepts which I cannot experience through the senses. Time and space. Cause and effect. Relations between things. Without me there is something wrong with this picture. The trees, the grass, the woman are merely- oh, she's coming! (nervously)- she's coming in here-! I say, don't leave!-where are you going?

STANKEVICH The world outside of me has no meaning independent of my thinking it. (pauses to look) I look out of the window. A garden. Trees. Grass. A young woman in a chair reading a book. I think: chair. So she is sitting. I think: book. So she is reading. Now the young woman touches her hair where it's come undone. But how can we be sure there is a world of phenomena, a woman reading in a garden? Perhaps the only thing that's real is my sensory experience, which has the form of a woman reading- in a universe which is in fact empty! But Immanuel Kant says- no! Because what I perceive as reality includes concepts which I cannot experience through the senses. Time and space. Cause and effect. Relations between things. Without me there is something wrong with this picture. The trees, the grass, the woman are merely- oh, she's coming! (nervously)- she's coming in here-! I say, don't leave!-where are you going? MICHAEL Father's looking for me anyway. . .(gloomily) I've had to ask him to settle a few debts here and there in the world of appearances, so now he's been busy getting me a job. Liubov enters from the garden, with her book. LIUBOV Oh!-(noticing Stankevich) Excuse me- MICHAEL Nobody seems to understand Stankevich and I are engaged in a life-or-death struggle over material forces to unite our spirit with the Universal

STANKEVICH The world outside of me has no meaning independent of my thinking it. (pauses to look) I look out of the window. A garden. Trees. Grass. A young woman in a chair reading a book. I think: chair. So she is sitting. I think: book. So she is reading. Now the young woman touches her hair where it's come undone. But how can we be sure there is a world of phenomena, a woman reading in a garden? Perhaps the only thing that's real is my sensory experience, which has the form of a woman reading- in a universe which is in fact empty! But Immanuel Kant says- no! Because what I perceive as reality includes concepts which I cannot experience through the senses. Time and space. Cause and effect. Relations between things. Without me there is something wrong with this picture. The trees, the grass, the woman are merely- oh, she's coming! (nervously)- she's coming in here-! I say, don't leave!-where are you going? MICHAEL Father's looking for me anyway. . .(gloomily) I've had to ask him to settle a few debts here and there in the world of appearances, so now he's been busy getting me a job. Liubov enters from the garden, with her book. LIUBOV Oh!-(noticing Stankevich) Excuse me- MICHAEL Nobody seems to understand Stankevich and I are engaged in a life-or-death struggle over material forces to unite our spirit with the Universal- and he has to go to Moscow tomorrow!

OM CHANTING Various studies have shown that OM chanting deactivates the limbic part of the brain responsible for our basic emotions (fear, pleasure, anger) and our impulses (hunger, sex, dominance and care of offspring). Since the effectiveness of OM chanting is associated with the experience of vibrations around the ears, scientists have suggested that these sensations are transmitted through the auricular branch of the vagus nerve. As the vagus nerve branches off into the inner ear and larynx, controlling the opening and closing of the vocal cords and tone of the sound, it appears that this is stimulated during the vocalization of the O and M sounds. In addition, by performing chanting in exhalation, the vagus nerve is activated in its role as manager of the parasympathetic system. In addition, chanting, by facilitating the lengthening of the exhalation, further amplifies the effect on the parasympathetic system. This is why this practice helps to calm and relax the body and mind. -Find a quiet place to sit comfortably. -A good position is to sit with your legs crossed and your back straight. -Wear comfortable cotton clothes that do not tighten any part of your body. All body channels should be free and comfortable. Place the palm of your right hand (facing upwards) on the palm of your left hand at navel level. Close your eyes for a few minutes and relax your mind and body. Slowly feel the vibrations that occur in every part of your body. When the vibrations become more intense, start breathing deeply. Hold your breath for a second and then slowly exhale. Initially count to 7 as you exhale. This ought to be duplicated thrice. As you exhale the third time, sing "oooooooooo..." Feel the vibrations in your abdomen (and under your chest). After exhaling, relax for 2 seconds. Breathe in again (slow, deep breaths). As you exhale sing "ooooo..." and feel the vibrations in your chest and neck. After exhaling, relax for 2 seconds. Inhale again (long, deep breath). As you exhale, sing "mmmmmmmm...". Feel the vibrations in your head and neck. After exhaling, relax for 2 seconds. Inhale again and as you exhale say "oooommmm..." or "aaauuummm...". About 80% of the sound should be "aaauuu..." and 20% should be "mmmm...". Repeat the previous steps 3 times (you can do it up to 9 times). After the Om meditation, relax and concentrate on your regular breathing for about 5 minutes. TIPS -Wearing white clothes and being in a white environment will improve your experience. But the rule of white is not fundamental. -A good place could be a quiet room or a garden with shade. Your eyes, ears or other sensory organs should not be disturbed. -Do not consume alcohol for at least 8-10 hours before meditation. -It would be better not to eat or drink anything for at least 2 hours before meditation. The body's channels should not be blocked in order to achieve maximum results. This applies especially to the digestive system. -The best times for this meditation are early in the morning or late at night. -For beginners, singing "aum" can cause dizziness. It is recommended to proceed slowly and try to learn one step at a time. In this way you will prepare body and mind for the next step. -It is very important to open your eyes slowly when your breathing has stabilized. -If you cannot sit on the floor, you can try sitting on a bed or a chair. The most important thing is to keep your back straight. -Doing this kind of meditation in a group brings more peace and harmony to all members than doing it alone.

In the contemplative garden, the troubled robot sat in the ruddy sunlight and felt warmth on his metal skin. This was another thing that humans seemed to enjoy, but he did not understand why. Even with his sensory enhancement module, it just seemed like heat.

Chapter 2: The Blinders of the Senses: Awakening from the Sensory Dream Close your eyes and imagine standing in a garden. The air is fragrant with the scent of flowers, and the sun's warmth kisses your skin. You hear the rustle of leaves, the chirping of birds, and the distant hum of life. This sensory symphony envelops you, defining your experience of the world around you. But what if I told you that this symphony is both a blessing and a limitation? Welcome to the chapter where we pull back the curtain on the senses—the windows through which we perceive reality. These senses are our gateways to the world, allowing us to touch, taste, hear, see, and smell. They are our connection to the external, the bridge that links us to the physical universe. However, in their splendor lies a trap—a trap that keeps us tethered to the surface of existence. Picture this: you're in a theater, engrossed in a captivating movie. The screen and the story before you are so compelling that you forget you're sitting in a theater, watching a mere projection. In the same way, our senses project a vivid reality that captivates us, making us forget that they're just a means of perception, not the ultimate truth. Our senses act as both guides and misguides. They offer us a glimpse into the world, but they also distort reality. They're like a paintbrush in the hands of an artist, creating a beautiful but partial picture. We become so focused on this picture that we overlook the canvas on which it's painted—the canvas of consciousness. Consider the blind spots in your eyes. These are spots where you literally cannot see, yet your brain fills in the gaps seamlessly, creating a complete image. Similarly, our senses have "blind spots" when it comes to the inner world of thoughts, emotions, and consciousness. They excel at perceiving the external, but they struggle to illuminate the internal. Herein lies the paradox: while our senses are our windows to the world, they can also be our blinders, keeping us from seeing the whole picture. Just as a map provides information about the terrain but not the essence of a place, our senses provide data about the world but not the essence of our being. So, how do we escape this sensory dream and peer beyond the blinders? The answer lies in a shift of focus. We must turn our attention inwards, away from the dazzling spectacle of the external world. It's here, in the quietude of introspection, that we can begin to untangle the threads of our consciousness from the threads of sensation. In the coming pages, we'll delve into the paradox of perception and introspection. We'll journey through the ways our senses illuminate the external and yet leave us in the dark about the internal. And most importantly, we'll explore the profound power of looking beyond the surface, awakening to a reality that transcends the sensory landscape. So, get ready to peel back the layers of perception, to unveil the subtle dance between our senses and our consciousness. As we journey through this chapter, remember: just as a photograph captures a moment in time, our senses capture a moment in reality. But to grasp the essence of existence, we must go beyond the snapshot and embrace the living, breathing symphony of

>>>Yes, Max. I’m aware of the space where you live. Do you actually see the trees and the water? >>>Max registers binary code that represents trees and water. No different than Riley. >>>I disagree. In one hour, if the fog has burned off, I will go up onto the terrace of the building where I work and eat lunch in the garden. I will sit under real trees. I can see them. Touch them. Smell them. >>>What Riley sees are photons in the visible light spectrum bouncing off surfaces to create the impression of a tree in Riley’s visual sensory inputs—the rods and cones of her photoreceptors. Riley’s tree no different than Max’s. With one exception. >>>What’s that? >>>Max knows these palm trees are simulated. >>>You believe I live in a simulation? >>>58.547% chance.

What if a woman in a garden is not posing but simply widening and gentling her boundaries? What if she is embracing the sensory experience of being alive and entwined? To live with things growing all around, to be in the center of all this life, is to dream inside the Endless.

Counsel: The holiness of the servant lies in his freeing his knowledge and his will. He should free his knowledge from fanciful, tangible, and imagined things, and from all perceptions which he shares with animals. His continuing study and his ranging learning should rather be concerned with eternal divine things that are quite free from having to come closer to be perceived by the senses, or move farther away so as to be hidden from them. So he will become free himself from all tangible and imagined things, appropriating from the sciences what would remain were one deprived of sensory organs and imagination, and so be refreshed by forms of knowledge that are noble, universal, and divine, concerned with eternal and everlasting objects of knowledge and not with changeable and imaginable individuals. As for his will, he should free it from revolving around human participations that stem from pleasure of desire or from anger, the enjoyment of food, sex, clothing, what can be touched or seen, or whatever pleasures come to him only by way of his senses and his body. In this way he will desire nothing but God-great and glorious; he well have no share except in God, no longing except to meet Him, no happiness except being near to Him. Even if paradise with all of its happiness were offered to him he would not turn his aspiration towards it, nor would the worlds [of heaven and earth] satisfy him, but only the Lord of these worlds. In sum, sensory and imaginary perceptions are shared with animals, and one should rise above them in favour of what is properly human. Animals also vie with man in human sensuous pleasures, so one should free oneself from them. The aspirant is as exalted as the object to which he aspires, as one who is intent on what enters his stomach is as valuable as what comes out of it, but whoever is intent on nothing except God-great and glorious-finds the level commensurate with his intent. And whoever elevates his mind above the level of imagined and tangible things, and frees his will from the dictates of passion, will lodge in the abundance of the garden of holiness.

Feelie Box—Cut a hole in a shoebox lid. Place spools, buttons, blocks, coins, marbles, animals, and cars in the box. The child inserts a hand through the hole and tells you what toy she is touching. Or, ask her to reach in and feel for a button or car. Or, show her a toy and ask her to find one in the box that matches. These activities improve the child’s ability to discriminate objects without the use of vision. “Can You Describe It?”—Provide objects with different textures, temperatures, and weights. Ask her to tell you about an object she is touching. (If you can persuade her not to look at it, the game is more challenging.) Is the object round? Cool? Smooth? Soft? Heavy? Oral-Motor Activities—Licking stickers and pasting them down, blowing whistles and kazoos, blowing bubbles, drinking through straws or sports bottles, and chewing gum or rubber tubing may provide oral satisfaction. Hands-on Cooking—Have the child mix cookie dough, bread dough, or meat loaf in a shallow roasting pan (not a high-sided bowl). Science Activities—Touching worms and egg yolks, catching fireflies, collecting acorns and chestnuts, planting seeds, and digging in the garden provide interesting tactile experiences. Handling Pets—What could be more satisfying than stroking a cat, dog or rabbit? People Sandwich—Have the “salami” or “cheese” (your child) lie facedown on the “bread” (gym mat or couch cushion) with her head extended beyond the edge. With a “spreader” (sponge, pot scrubber, basting or vegetable brush, paintbrush, or washcloth) smear her arms, legs, and torso with pretend mustard, mayonnaise, relish, ketchup, etc. Use firm, downward strokes. Cover the child, from neck to toe, with another piece of “bread” (folded mat or second cushion). Now press firmly on the mat to squish out the excess mustard, so the child feels the deep, soothing pressure. You can even roll or crawl across your child; the mat will distribute your weight. Your child will be in heaven.

He wanted the teahouse to blend in with nature and become more of a backdrop for the tea ceremony, so he helped influence its redesign. Over time, the teahouse became a simple hut set in a garden with mud and plaster walls, a thatched roof, a bamboo lattice ceiling, tatami floors, and small paper-covered windows. It became a refuge in the city meant to echo a mountain retreat, where samurai from warring clans, lowly merchants, and even the emperor could come together on equal footing and focus on nothing more than the sensory pleasures of the tea ceremony, such as the gentle bubbling of the tea water on the brazier, the seasonal flower arrangement in the alcove, and the smell of the particular incense chosen to represent the time of year.

Wicklow's Bounty: Ode to the Irish Strawberry by Stewart Stafford The Garden County's ruby hue; Juicy gush with tart aftertaste, Seeded cream teases the palate, A Summer afternoon without haste. Eireann's pride swallowed so well; Sunburst flesh, chilled bitterness, Enveloped in richest dairy pillows, Feel the divine fingerprint finesse. Amass nature's brief treasures, Don't wait, dear brother/sister, Before frosted breath chokes, Turning land's song into a whisper. © 2024, Stewart Stafford. All rights reserved.