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Meditation opening

To Franz alchemy was a meditative practice. Fie would sit for hours in his study reading his books, and sometimes he would just sit and contemplate one of the illustrations. On several occasions it was an illustration that seemed to open an inner door in his mind and allowed him to travel to a spiritual dimension. Once there, he was able to hold conversations with ancient alchemists and philosophers and sometimes even with angels. [Pg.85]

Rumford s approach to science was pragmatic rather than academic. He once observed that a habit of keeping the eyes open to every thing that is going on in the ordinary course of the business of life has oftener led to. .. sensible schemes for investigation and improvement than all the more intense meditations of philosophers in the hours expressly set aside for study. ... [Pg.69]

Meditation techniques are varied, but Naranjo and Ornstein 39 have classified them into three basic types (1) concentrative meditation, (2) opening-up meditation, and (3) expressive meditation. Here we consider the first two and begin by analyzing a technique common to both before further distinguishing between them. [Pg.81]

Opening meditation is usually practiced in the same sort of posture as concentrative meditation, so all the effects of posture on disrupting the b-Soc are similar. [Pg.85]

We do not know enough at present to adequately describe how the d-ASC reached from opening meditation, characterized by freshened perception, differs from the feeling of freshened perception occurring within one s ordinary d-SoC as an aftereffect of concentrative meditation, (back)... [Pg.87]

A period of time (usually at least three days) should be set aside in which the experience will run its natural course and there will be sufficient time for reflections and meditation. It is important to keep schedules open for three days and to make these arrangements beforehand. A too-hasty return to game-involvements will blur the clarity of the vision and reduce the potential for learning. If the experience was with a group, it is very useful to stay together after the session in order to share and exchange experiences. [Pg.46]

An explosion of interest in and information about wellness— not just illness—surrounds us. How to achieve and sustain a healthy lifestyle, how to enhance successful aging, and how to benefit from "natural" remedies saturate the media. Ironically, although this seems to be a new phenomenon, the principles of complementary or alternative medicine are ancient. Some of our oldest and most widely used medications are derived from plants and herbs, and Eastern medicine has for centuries relied on concepts of harmony, relaxation, and meditation. Again, as the world shrinks, we are obligated to be open to ideas that may be new to us but not to others and to carefully evaluate their utility. Muskin and colleagues present a careful analysis of the most familiar and important components of complementary and alternative medicine, presenting a substantial database of information, along with tutorials on non-Western (hence nontraditional to us) concepts and beliefs. [Pg.155]

Unconventional stories are the first source for experimental narrative. Generally, the stories tend to be exploratory—stories of identity, stories of alienation, meditations on a time or place. Vincent Ward s film The Navigator looks at a medieval period Clara Law s Autumn Moon looks at Hong Kong— a place where change and tradition meet and, in the 1990s, conflict. Because experimental narrative sidesteps plot, stories of character dominate. Because the genre favors open-ended or nonlinear stories, the preference is for tone, to make up for the absence of resolution. [Pg.214]

Gloriana s poisons lie at the heart of the corrosive contamination the play dramatizes. Vindice opens the play by meditating on Gloriana s poisoned beauty Thou sallow picture of my poison d love, I My study s ornament, thou shell of death (l.i.14-15). Gloriana is defined by her status as murder-victim she is first and foremost the remnants of Vindice s poisoned love. The contrast between her former beauty and her current shell of death points insistently and accusatorily to the evil that has intervened between the two Vindice addresses her. [Pg.115]


See other pages where Meditation opening is mentioned: [Pg.5]    [Pg.5]    [Pg.24]    [Pg.97]    [Pg.50]    [Pg.248]    [Pg.10]    [Pg.101]    [Pg.85]    [Pg.85]    [Pg.101]    [Pg.224]    [Pg.79]    [Pg.40]    [Pg.198]    [Pg.201]    [Pg.275]    [Pg.277]    [Pg.51]    [Pg.53]    [Pg.53]    [Pg.62]    [Pg.194]    [Pg.164]    [Pg.121]    [Pg.49]    [Pg.46]    [Pg.86]    [Pg.86]    [Pg.103]    [Pg.234]    [Pg.114]    [Pg.78]    [Pg.78]   
See also in sourсe #XX -- [ Pg.86 , Pg.102 ]




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