BATESON SYMPOSIUM
          By L.B. 05/7/85
 
   (THE PATTERN WHICH CONNECTS)                                                      
          Sometimes in a
             pattern
   something follows something
              and we
          recognize it,
          return to it,
             and then
         may know more of
             what it
               was.
          Sometimes in a
             pattern
    nothing follows something
              and we
             miss it,        
       can't go back to it,
             and then
          may never know
             what it
               was.
             (LINKS)
    
         Sometimes in a
            pattern
   something follows nothing,
             and we
         are surprised,
     notice the difference,
            and then
  are astonishingly changed by
            what it
              was.
        Sometimes in a
           pattern
    nothing follows nothing
           and  we
         are puzzled,
   still quietly wondering,
           and then
    mystically won't know
      whatever continues
            to be.
 (THE PROCESS WHICH CONTINUES)       
     *   *   *   *   *   *
   THE OPPOSITE OF BLINKING
(In response to Mary Oliver's poem)
It's been one method
I've used to discover
any number of things
similar to opening a
refrigerator door
very, very quickly
to try to
catch the darkness
before the light
comes on
quietly, meditating, pre-
meditating about
what's out there
to be perceived, savored, studied
then pouncing with my eyes
or peeking more slowly
maybe even just one eye
at a time
then gathering in the
beauty of shapes, colors,
depths, motions, rhythms,
faces, silhouettes, postures
why, sometimes one
might notice
the brass sun
the moonlight bathing landscapes
and try to eavesdrop on
pale roots, green stalks, leaves,
tassels, shucks or cobs
fulfilling their natural destinies
then observe that somehow
they accomplish this
unaided, unselfconsciously
absent any declared creed
about gravity or tropisms
having no recorded language
fearlessly just be-ing
validating Meister Eckhardt's
declaration that "Spirit
hath no use for number."
    *    *    *    *    *    *
   COMMAND PERFORMANCE
When I open                            more significant
the closet door                        experience & meanings
for the                                to prevent them from
morning auditions                      interfering with social
I notice that                          intercourse & role
the varied                             responsibilities
colors & patterns                      keeping transactions
sing & shout out                       superficially safe
eagerly seeking                        then at day's end
to be chosen                           to retire without
to be the ones                         ovation or encore
to represent me                        headed for a spin
to the world                           in the washer/drier
temporarily                            having reliably kept
knowing the signals                    the real human world
are partial                            "covered".
and serve also to hide
[By L.B. 01/23/95 St. Paul, MN]
    *    *    *    *    *    *    *    *    *    *    *    *
    THOUGHTS OF MY BODY
Thoughts of my body
at varied times
throughout my lifetime
have led me to:
rest an injury
sleep deeply -- or not so deeply
savor wonderfully prepared meals
work vigorously or deliberately
request medical advice
fantasize...
face decision points
walk without destination in my woods
feel shy or embarrassed
exercise a lot -- or a little
drink previously unknown concoctions
seek physical contact and affection
enjoy athletic competence
have confidence in practiced skills
clearly realize my insignificance
   in the presence of mountains rivers
   lakes plains oceans & storms
   as reference points 
   in an economy of scale
be grateful for affectionate friends
acknowledge, but not fear, death
be grateful that what is as crucial
is the body of my thoughts!
  [By L.B. at Snake River Cabin
     Pine City, MN 01/31/93]
    *    *    *    *    * 
    *    *    *    *    *

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