Gurdjieff and Mind Controllers #1

Written by Robert Bruce Baird

The dance that Gurdjieff sawrepparttar people of Tibet use to enhance their spiritual discipline became almostrepparttar 150714 only tool he used to teach his French and other students from his Parisian École which includesrepparttar 150715 name Priory. That leads me to wonder aboutrepparttar 150716 Protocols used by his Russian patronrepparttar 150717 Czar; and his involvement in giving Hitlerrepparttar 150718 Swastika. I have also consideredrepparttar 150719 involvement of Bernard Baruch as a Gurdjieffian student and his Merovingians who benefited so much fromrepparttar 150720 wars ofrepparttar 150721 20th Century in other books. In this excerpt from another researcher I enjoy, we find insight to modern music andrepparttar 150722 Red headed or Crimson King. You will have a lot of research to do if you are going to understand these connections as this author properly notes. Gurdjieff was a spy and a lot like St. Germain.

“British rock, particularly British progressive rock (whatever "progressive" may mean or not mean), is like a club or select society:repparttar 150723 more you find out about it,repparttar 150724 more you realize that practically everybody inrepparttar 150725 club has played in practically everyone else's group at one time or another...

It would be silly to say that Fripp, or anyone other single person, was at "the" center of this tangled mass of perpetually mutating strands of double-helical do-re-mi. Yetrepparttar 150726 Crimson King was inarguably one ofrepparttar 150727 ribosomal focal points of creative synthesis, touching, in his eccentric way, allrepparttar 150728 musicians he worked with, and leaving his decisive stamp onrepparttar 150729 history of rock inrepparttar 150730 early 1970s and beyond.

Ofrepparttar 150731 classic heavyweight progressive rockers, who had laid down a more convincing legacy than King Crimson? By 1974 Yes had lost themselves in grandiosity beyond all reasonable bounds (though continuing to play to huge popular acclaim); Emerson, Lake and Palmer were grandstanding with thirty-six tons of equipment and labored flashes of lasers and psychedelic music-hall brilliance; Procol Harum were drifting into repetition and stagnation with Exotic Birds and Fruit, less than a mere shadow of their one-time life and soul. Faced with such examples of dinosaur burnout, and listening torepparttar 150732 records of all these groups today, I come away with a feeling that King Crimson's music ofrepparttar 150733 period sounds infinitely less dated... He was clearly in it forrepparttar 150734 music... But then, one ofrepparttar 150735 marks ofrepparttar 150736 superior creative talent is precisely knowing when to quit, when to seek out a new vision.

As hinted at inrepparttar 150737 previous chapter, particularly grating to Fripp wasrepparttar 150738 commercial/music-industry aspect ofrepparttar 150739 whole progressive rock spectacle. Inrepparttar 150740 October 1974 Melody Maker interview where he explained his reasons for disbanding King Crimson, Fripp said that successful rock bands often "originally start out to service a need but you now have a situation where, being creative, they have to create needs in order that they may continue to exist. In other words, they've become vampiric {This isrepparttar 150741 proper word to use and readers of many of my books that addressrepparttar 150742 Dragons or Pendragons andrepparttar 150743 work of Sir Laurence Gardner will see this is true.}.’ Onrepparttar 150744 subject ofrepparttar 150745 music itself, in 1987 Fripp dismissed early progressive/art-rock music as ‘a badly cobbled pastiche of a number of badly digested and ill-understood music forms.’

A sense of no new worlds left to conquer, ofrepparttar 150746 exhaustion of a particular set of possibilities. For an artist, to stay inrepparttar 150747 same place is to go backwards, to stop growing is to die.

As for Robert Fripp - who disbanded King Crimson inrepparttar 150748 face of what seemed to him insurmountable cosmic, business, and personal obstacles, and who effectively erased himself fromrepparttar 150749 musical scene - forrepparttar 150750 moment, late 1974, he was indeed gone, top of head blown off, wandering around without a sense of ego. The Faustian pact was over, just like Lennon's dream. Music itself had stymied him,repparttar 150751 presentation of meaningful music no longer seemed a real possibility.

Fripp wanted to wrap up his unfinished business, however, and did so in a number of projects, among them putting together The Young Person's Guide to King Crimson, a double-album "greatest hits" package which pointedly omitted "Schizoid Man." The album included a detailed chronology of King Crimson I-III compiled by Fripp from record and concert reviews, conversations with musicians, and Fripp's own journal entries...

Onrepparttar 150752 break-up of King Crimson III, Fripp calculated that he had enough money to pay his bills for three years. And indeed, even in his disoriented frame of mind, he was hatching a personal three-year plan consisting of preparation, withdrawal, and recovery. His activities ofrepparttar 150753 first year - winding up his affairs - would prepare him for a decisive withdrawal fromrepparttar 150754 music industry - and effectively fromrepparttar 150755 outside world - at J.G. Bennett's International Society for Continuous Education at Sherborne House, following which he would surveyrepparttar 150756 inner and outer landscapes and decide what to do next.

It is quite possible that Fripp's transformational experience at Sherborne - which is, if obliquely,repparttar 150757 subject of this chapter - cannot be understood by anyone who has not undergone something similar. It is just possible, however, that some inkling of what was involved may be got by reviewingrepparttar 150758 historical backdrop of his experience. Since Fripp's subsequent music and public posture was deeply affected by his encounter withrepparttar 150759 Gurdjieff/Bennett tradition, and since onlyrepparttar 150760 most superficial information on that tradition was dispensed byrepparttar 150761 music press inrepparttar 150762 course of reviewing Fripp's work, I offer here a somewhat more substantial summary forrepparttar 150763 interested reader.

In recent years Fripp has publicly distanced himself fromrepparttar 150764 Gurdjieff/Bennett tradition, preferring to claim only that he speaks for his own school, Guitar Craft. It was not so long ago, however, that he was splicing Bennett tapes into his albums and quoting Gurdjieff in his articles. It may in part have beenrepparttar 150765 rock press's open hostility and ridicule of Fripp's apparent conversion to a "mystical cult" - though as far as I can make out,repparttar 150766 Gurdjieff work is neither mystical nor a cult - that led him to his present position of reserve. Gurdjieff

Who was George Ivanovich Gurdjieff? It appears that, even when he was alive - he died in 1949, his date of birth is uncertain, probably 1877 - if one asked ten people who knew him, one would receive ten different answers. Bennett wrote a biography of Gurdjieff, and his ultimate assessment ofrepparttar 150767 man was that he was ‘more than a Teacher and less than a Prophet. He was a man with a true mission and he devoted his entire life to it. He needed people who could understand his message and yet he was compelled to makerepparttar 150768 message obscure and hard to understand. Therefore, he had to look for those who could acquirerepparttar 150769 required perspicacity and alsorepparttar 150770 singleness of purpose to carry his work forward. Today [1973], twenty-four years after his death, there are thirty or forty people in different parts ofrepparttar 150771 world who are capable of transmittingrepparttar 150772 teaching, but there are very few who can look beyondrepparttar 150773 man to his message.’

Gurdjieff #3

Written by Robert Bruce Baird

Division of Attention. Gurdjieff encouraged his students to cultivaterepparttar ability to divide their attention, that is,repparttar 150713 ability to remain fully focussed on two or more things atrepparttar 150714 same time. One might, for instance, let half of one's attention dwell in one's little finger, whilerepparttar 150715 other half is devoted to an intellectual discussion. Inrepparttar 150716 division of attention, it is not a matter of going back and forth between one thing and another, but experiencing them both fully simultaneously. Beyondrepparttar 150717 division of attention lies "remembering oneself" - a frame of mind, permanent inrepparttar 150718 hypothetical perfected person, fleeting and temporary inrepparttar 150719 rest of us, in which we see what is seen without ever losing sight of ourselves seeing. Ordinarily, when concentrating on something, we lose our sense of "I," although we may as it were passively react torepparttar 150720 stimulus we are concentrating on. In self-rememberingrepparttar 150721 "I" is not lost, and only when we maintain that sense of "I," according to Gurdjieff, are we really awake. Like mastery on a musical instrument, such forms of heightened self-awareness can be developed only with years of practice.

Hands, Head, and Heart. With many variations and complications overrepparttar 150722 years, Gurdjieff's theoretical picture ofrepparttar 150723 human organism boils down to a tripartite model consisting of three "centers":repparttar 150724 moving,repparttar 150725 emotional, andrepparttar 150726 thinking. Becoming a genuine person involves coordinatingrepparttar 150727 three centers and becoming capable of conscious labor and intentional suffering.

Abstract Symbolism. Gurdjieff was fond of elaborate theorizing -repparttar 150728 construction of intricate symbolic systems embodying or representingrepparttar 150729 relationships between phenomena at all levels of existence fromrepparttar 150730 atom torepparttar 150731 universe. Ouspensky devotes pages and pages to Gurdjieff's concept of "octaves" {Thus one must studyrepparttar 150732 Pythagorean connection with Abarisrepparttar 150733 Druid.}-repparttar 150734 musical scale do-re-mi-fa-sol-la-ti-do taken as a sort of universal yardstick for determiningrepparttar 150735 measurements and proportions of all of nature's parts. (The theory of octaves had a tremendous impact on pianist Keith Jarrett, who read about them in Beelzebub's Tales to His Grandson, Gurdjieff's longest, most allegorical, and most difficult book.) Some Gurdjieff students and groups gloss overrepparttar 150736 octaves or dispense with them entirely. My own feeling is thatrepparttar 150737 theory of octaves has a lot in common with medieval Western musical theorists' preoccupation with theo-numerological speculation based on interval integer ratios and their symbolic significance. In point of fact, Gurdjieff had studiedrepparttar 150738 medieval alchemists and on occasion was prone to speak ofrepparttar 150739 human organism as a sort of alchemical factory forrepparttar 150740 transformation of various material and psychic substances.

It seems that where there is music, and where there are people who philosophize about it, there will be some form of numerology and arcane quasi-mathematics. Since both musical pitch and musical rhythm are readily represented in numerical forms,repparttar 150741 urge to find primal mathematical significance in music is almost impossible to resist. A contemporary example of this perennially seductive train of thought is Peter Michael Hamel's book Through Music torepparttar 150742 Self.

Another symbolic thought-form Gurdjieff worked with wasrepparttar 150743 enneagram, a circle with nine points around its circumference. Said Gurdjieff, ‘The enneagram is a universal symbol. All knowledge can be included inrepparttar 150744 enneagram and withrepparttar 150745 help ofrepparttar 150746 enneagram it can be interpreted ... A man may be quite alone inrepparttar 150747 desert and he can tracerepparttar 150748 enneagram inrepparttar 150749 sand and in it readrepparttar 150750 eternal laws ofrepparttar 150751 universe. And every time he can learn something new, something he did not know before.’ {The fabulously successful book The Celestine Prophecy usesrepparttar 150752 knowledge ofrepparttar 150753 Enneagram and takes people torepparttar 150754 point of Enlightenment which can include dematerialization.}

Throughrepparttar 150755 elaboration ofrepparttar 150756 law of octaves andrepparttar 150757 meaning ofrepparttar 150758 enneagram, Gurdjieff offered his students alternative means of conceptualizingrepparttar 150759 world and their place in it. When I say "alternative," I am suggesting that Gurdjieff sought alternatives to rational, linear, language-oriented exposition and rhetoric (though he was by all accounts also a spellbinding speaker). In other words, Gurdjieff's ideas could be only partially expounded in ordinary words and sentences; to go beyond language he drew on music (he played several instruments and Bennett tells of him improvising unearthly melodies on a small organ late at night), dance, and visual symbols such asrepparttar 150760 enneagram.

Furthermore, it is my impression that Gurdjieff was happy to talk theoretically with students who were theoretically inclined, but thatrepparttar 150761 theory itself is not an indispensable part of his overall teaching. Or, to put it slightly differently, Gurdjieff used, for instance,repparttar 150762 complicated machinery ofrepparttar 150763 law of octaves in order to teach his students to think. And in some respectsrepparttar 150764 process of thinking was more important thanrepparttar 150765 theoretical content of what was thought.

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