the organization of human life, its systems of communication and systems of control, are extended more and more and more in just the same way, for example, that by assimilating the minerals out of the soil and the rays out of the sunlight, a plant like a fern

grows and grows and grows and extends its form and in this way its organization prevails. Now then, you see, if you take this task of what we call the conquest of nature, the task of making order victorious over chaos or randomness, if you take this seriously,

you will look upon it as warfare and you will firmly believe that the most urgent thing that there possibly can be is to make order prevail over randomness, to make good prevail over evil, to make life prevail over death. And we find that when we are in a contest of this kind, a

serious warfare game of this kind and we take it seriously, we are involved in it in a very deep and bitter sense. Now the difference of Buddhism from science as a form of knowledge is that in Buddhism it would be said that this view of

things, this view of the task of life as making order triumph over disorder, leaves something out. You remember right at the beginning I made some importance of a Sanskrit word which is fundamental in Buddhism, which meant 'avidya,' meaning non-knowing or ignorance, or better

ignorance, ignorance in other words leaving something out of account. And I want to use a familiar illustration to show in what way we ignore. You see here a figure which is apparently, as you look at it, two faces in profile about to kiss each other.

Now if we draw back a little from those two faces, we can see on the white area in between them the form of a cup. But the interesting thing about this is that as you look at it, you will either be able to see the form of the cup

or the form of the two faces in profile, as it were, about to kiss each other. You can alternate between them very rapidly, but you will not be able to see them both that way at the same time. In other words, either the white must be the background

and the black the figure on the ground, or else the black must be the background and the white cup showing up on it. And so in this way, we are unable to see, really, we can think it, after a while, we can get accustomed to the idea

that the figure and the ground, the black and the white, are mutually necessary to each other. In that figure that I showed you, you could say both the cup with the stem and the two faces are there, but our ideas about them, our concepts, are mutually exclusive, and we cannot see them both at the same

time. And in the same way, in this figure that I drew, we either see the sawn-off stumps or the bear claws. It's difficult to see this figure both ways at the same time. And so also, just as we see one and not the other,

so we identify ourselves. After all, when you're looking at the white figure in that illustration, which is the cup, you as it were, identify with the cup. When you look at the two faces, you identify with the profile. So in the same way, when we experience the world around us

we identify with the subject, the knower. We don't identify with what we see, but as a matter of fact, if there is nothing seen, there is no experience of a seer. If there is no seer, there is no experience of anything seen. They both go together in the same way as

the black and the white. And this idea that the yes and the no, the black and the white, the inside of a class—say we draw a square as representing fundamentally the idea of class—I can't have a square which doesn't have both inside and

outside. They go together. And in Buddhism, this going together is called, although this is often translated 'void', it means that the inside of the square cannot exist, is void without the outside, the subject without the object, the black without the white. And this, of course, is represented

in this fundamental Chinese figure of the yang or the positive principle and the yin or the negative principle, like two fishes constantly circulating, going round and round and round and round in the alternations of life. Now, the question is, are these two fishes involved in a fight?

Is the white one eating up the black one, and the black one trying to eat up the white one? If that is the situation, then of course life is fundamentally nothing but a grim contest. If this one up here is the good fellow, and this one is the bad fellow,

if this is order and this is chaos, then a fight goes on between them. And that's largely the way in which our technology has interpreted man's situation as against nature. This is man, the white, the good fellow. This is nature, the dark, the bad fellow. And the

the white one has got to eat him up but what happens if the white fish succeeds in eating up the dark fish the white fish disappears as well as the dark one because the white one is only there in relation to the dark so then if these two fishes

as it will wake up if this one wakes up and this one wakes up which is called awakening in Buddhism they realize they're one in other words they go together they're inseparable from each other and this realization is that experience which is called in Zen satori

or in Buddhism bodhi awakening this sudden dawning on our consciousness that life is not really a contest to make yes triumph over no to make the positive triumph over the negative the two sides go together and then one sees in this strange way that underlying all

that is negative in the world all that is in a way painful and evil there is a kind of necessity to it it goes with the good it is necessary for the good disorder is necessary for the manifestation of order just as you must have say a black

background to show up a light figure and then when one sees that a profound transformation takes place in one's attitude to the world that is to say instead of looking upon life as a contest it becomes a dance it becomes a game one doesn't withdraw from it one doesn't

stop living but one goes into the game so that these revolving fishes are no longer trying to eat each other but they're just going around dancing having the biggest fun in the world so then must we have fixed in our minds the idea that all the forms and patterns of

in nature are simply methods of attack or defense that they are devices for camouflage that they are simply lures for sexual attraction or other utilitarian purposes or can we see in them a dance a joyous cosmology

Alan Watts Explains What Awakening Means

Journey Through The Mycelium Network

인간 생활의 시스템은 식물의 성장처럼 확장되고 있습니다.

자연을 정복하는 것은 전쟁으로 간주되며, 혼돈보다 질서를 우선시합니다.

이 전쟁은 선과 악, 삶과 죽음의 싸움으로 깊이 느껴집니다.

불교는 이 견해와 대조적으로 무언가 빠진 것이 있다고 주장합니다.

'아비디아'(무지)의 개념과 피규어 착시 현상

'아비디아'는 무지를 나타내며, 무언가를 고려하지 않는 것을 의미합니다.

두 얼굴과 컵의 그림은 우리가 둘 중 하나 또는 다른 하나를 동시에 보는 것이 아니라 둘 중 하나를 보는 방법을 보여줍니다.

개념은 상호 배타적이며, 그림과 땅을 한 번에 볼 수 없습니다.

우리는 대상을 무시하고 주체, 즉 아는 자와 동일시합니다.

보는 것과 보는 것은 흑백처럼 분리할 수 없는 관계입니다.

안과 밖은 주체와 객체처럼 분리할 수 없는 관계입니다.

음양 기호는 이러한 불가분의 관계를 상징합니다.

문제는 음과 양이 충돌하는지 여부입니다.

기술은 인간과 자연을 갈등으로 해석합니다.

'물고기'가 깨어나면 서로 분리될 수 없음을 깨닫게 됩니다.

이러한 깨달음은 사토리(선) 또는 보리(불교)입니다.

인생은 경연이 아니라 춤이나 게임입니다.

밝은 인물의 어두운 배경처럼 무질서는 질서를 위해 필요합니다.

자연의 형태와 패턴을 재해석하는 방법

자연의 형태는 공격/방어 수단일까요, 아니면 즐거운 춤일까요?

자연의 패턴에서 즐거운 우주론을 볼 수 있을까요?

Alan Watts Explains What Awakening Means

스크립트