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How To Be Spiritual In A Material World
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12 Nov 2015
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Before I Go: A Neurosurgeon’s Final Reflections On Mortality

Time warps for a young surgeon with metastatic lung cancer

In residency, there’s a saying: The days are long, but the years are short. In neurosurgical training, the day usually began a little before 6 a.m., and lasted until the operating was done, which depended, in part, on how quick you were in the OR.

Photo of Paul Kalanithi

Time at home. Time well spent

A resident’s surgical skill is judged by his technique and his speed. You can’t be sloppy and you can’t be slow. From your first wound closure onward, spend too much time being precise and the scrub tech will announce, “Looks like we’ve got a plastic surgeon on our hands!” Or say: “I get your strategy — by the time you finish sewing the top half of the wound, the bottom will have healed on its own. Half the work — smart!” A chief resident will advise a junior: “Learn to be fast now — you can learn to be good later.” Everyone’s eyes are always on the clock. For the patient’s sake: How long has the patient been under anesthesia? During long procedures, nerves can get damaged, muscles can break down, even causing kidney failure. For everyone else’s sake: What time are we getting out of here tonight?

There are two strategies to cutting the time short, like the tortoise and the hare. The hare moves as fast as possible, hands a blur, instruments clattering, falling to the floor; the skin slips open like a curtain, the skull flap is on the tray before the bone dust settles. But the opening might need to be expanded a centimeter here or there because it’s not optimally placed. The tortoise proceeds deliberately, with no wasted movements, measuring twice, cutting once. No step of the operation needs revisiting; everything proceeds in orderly fashion. If the hare makes too many minor missteps and has to keep adjusting, the tortoise wins. If the tortoise spends too much time planning each step, the hare wins.

The funny thing about time in the OR, whether you frenetically race or steadily proceed, is that you have no sense of it passing. If boredom is, as Heidegger argued, the awareness of time passing, this is the opposite: The intense focus makes the arms of the clock seem arbitrarily placed. Two hours can feel like a minute. Once the final stitch is placed and the wound is dressed, normal time suddenly restarts. You can almost hear an audible whoosh. Then you start wondering: How long till the patient wakes up? How long till the next case gets started? How many patients do I need to see before then? What time will I get home tonight?

It’s not until the last case finishes that you feel the length of the day, the drag in your step. Those last few administrative tasks before leaving the hospital, however far post-meridian you stood, felt like anvils. Could they wait till tomorrow? No. A sigh, and Earth continued to rotate back toward the sun.

But the years did, as promised, fly by. Six years passed in a flash, but then, heading into chief residency, I developed a classic constellation of symptoms — weight loss, fevers, night sweats, unremitting back pain, cough — indicating a diagnosis quickly confirmed: metastatic lung cancer. The gears of time ground down. While able to limp through the end of residency on treatment, I relapsed, underwent chemo and endured a prolonged hospitalization.

I emerged from the hospital weakened, with thin limbs and thinned hair. Now unable to work, I was left at home to convalesce. Getting up from a chair or lifting a glass of water took concentration and effort. If time dilates when one moves at high speeds, does it contract when one moves barely at all? It must: The day shortened considerably. A full day’s activity might be a medical appointment, or a visit from a friend. The rest of the time was rest.

With little to distinguish one day from the next, time began to feel static. In English, we use the word time in different ways, “the time is 2:45” versus “I’m going through a tough time.” Time began to feel less like the ticking clock, and more like the state of being. Languor settled in. Focused in the OR, the position of the clock’s hands might seem arbitrary, but never meaningless. Now the time of day meant nothing, the day of the week scarcely more so.

Photo of Paul Kalanithi and his daughter Cady

Paul Kalanithi savors moments with his daughter, Cady.

Verb conjugation became muddled. Which was correct? “I am a neurosurgeon,” “I was a neurosurgeon,” “I had been a neurosurgeon before and will be again”? Graham Greene felt life was lived in the first 20 years and the remainder was just reflection. What tense was I living in? Had I proceeded, like a burned-out Greene character, beyond the present tense and into the past perfect? The future tense seemed vacant and, on others’ lips, jarring. I recently celebrated my 15th college reunion; it seemed rude to respond to parting promises from old friends, “We’ll see you at the 25th!” with “Probably not!”

Yet there is dynamism in our house. Our daughter was born days after I was released from the hospital. Week to week, she blossoms: a first grasp, a first smile, a first laugh. Her pediatrician regularly records her growth on charts, tick marks of her progress over time. A brightening newness surrounds her. As she sits in my lap smiling, enthralled by my tuneless singing, an incandescence lights the room.

Time for me is double-edged: Every day brings me further from the low of my last cancer relapse, but every day also brings me closer to the next cancer recurrence — and eventually, death. Perhaps later than I think, but certainly sooner than I desire. There are, I imagine, two responses to that realization. The most obvious might be an impulse to frantic activity: to “live life to its fullest,” to travel, to dine, to achieve a host of neglected ambitions. Part of the cruelty of cancer, though, is not only that it limits your time, it also limits your energy, vastly reducing the amount you can squeeze into a day. It is a tired hare who now races. But even if I had the energy, I prefer a more tortoiselike approach. I plod, I ponder, some days I simply persist.

Everyone succumbs to finitude. I suspect I am not the only one who reaches this pluperfect state. Most ambitions are either achieved or abandoned; either way, they belong to the past. The future, instead of the ladder toward the goals of life, flattens out into a perpetual present. Money, status, all the vanities the preacher of Ecclesiastes described, hold so little interest: a chasing after wind, indeed.

Yet one thing cannot be robbed of her futurity: my daughter, Cady. I hope I’ll live long enough that she has some memory of me. Words have a longevity I do not. I had thought I could leave her a series of letters — but what would they really say? I don’t know what this girl will be like when she is 15; I don’t even know if she’ll take to the nickname we’ve given her. There is perhaps only one thing to say to this infant, who is all future, overlapping briefly with me, whose life, barring the improbable, is all but past.

That message is simple: When you come to one of the many moments in life when you must give an account of yourself, provide a ledger of what you have been, and done, and meant to the world, do not, I pray, discount that you filled a dying man’s days with a sated joy, a joy unknown to me in all my prior years, a joy that does not hunger for more and more, but rests, satisfied. In this time, right now, that is an enormous thing.

By Paul Kalanithi

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Paul Kalanithi, MD, was an instructor in Stanford’s Department of Neurosurgery and a fellow at the Stanford Neurosciences Institute. He passed away on March 9, 2015. More information about him is available at http://paulkalanithi.com.

Photography by Gregg Segal, syndicated from stanmed.stanford.edu


10 Nov 2015
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Scared to Sacred: Falling in Love with 13

Black cats are being overlooked in favour of more selfiegenic ones.

In high school English I learned a 64-carat word for a common ailment: triskaidekaphobia, or “fear of the number thirteen.” The elevator in my grandparents’ apartment building omitted the thirteenth floor. Apparently the assumption was, nobody would have wanted to live on it. It was a fashionable New York City address; fear and loathing cross all perceived boundaries. I also recall a series of horror movies with “Friday the 13th” in the title.

A society steeped in superstition and a materialistic value system will find it easy to assign anxiety to anything that threatens the status quo. Thirteen is the number of movement, of change — a wild card — and that can be very scary. But it’s our lost connection with the Divine in everyday life that gives rise to such distress. Divorced from our origins, terrified of our own power, we profane the sacred: thirteen becomes unlucky, evil, a curse; symbolic scapegoat of all we’re afraid to embrace.

When we can take the thirteenth step, however, we’re on the first step of the Stairway to Heaven. With the courage to look, we find thirteen stitched into the very fabric of American culture. Thirteen colonies gave birth to a nation. The first American flag bore thirteen stars and stripes. We were on the right track back then, grounded into the roots of our heritage.

Think about it: thirteen has traditionally been cause for celebration. The thirteenth year signifies a coming-of-age, also across all perceived boundaries. In the Jewish religion, boys make their Bar Mitzvah at thirteen. This ceremony, which involves reading from the holy Torah, marks a boy’s entrance into manhood.

Girls generally begin to menstruate at thirteen. Cross-culturally, it’s common to commemorate the first blood with an initiation rite; here in the West, this significant threshold is at last beginning to be recognized as a powerful, sacred passage. (My e-course, Loving Our Lunacy, is an embodied initiation for women.)

Ophiuchus

In fact, there are even thirteen sun signs in the Real Solar Zodiac — which is not the one used in conventional astrology. Ophiuchus, the serpent bearer, has been omitted from the oversimplified Tropical Zodiac used in the West. Yet the serpent denotes transformation — and on the Winter Solstice of 2012, long prophesied by indigenous cultures worldwide as the Shift of the Ages, Earth directly aligned with both Ophiuchus and the center of the Milky Way galaxy.

Thirteen, then, is a fundamental Earth rhythm, biorhythm, manifested in our physical bodies as well as the heavenly ones. To reject thirteen is, perhaps, to reject or deny some core aspect of ourselves as human beings.

How can we reawaken to our true purpose and potential, beyond the fear and perception of separateness? By reclaiming our native knowing.

One way that resonates for me is following a 13 Moon Calendar. The 13 Moon Calendar shows us a path to walk to restore right relationship in our lives, to re-member (make membership again) our journey as one Earth family. Based on an annual solar cycle of 13 moons (months) of 28 days each (the female menstrual cycle), plus one “day out of time” in which to reflect and regenerate, the 13 Moon Calendar is synchronized with Earth rhythms and human biology. It’s expansive, intuitive, juicy, flowing: life, in all its harmonious chaos.

The beauty of this apparent paradox lies in learning to honor them both/and: life is orderly and messy, pragmatic and unpredictable, spiritual and material. Living in tune with these innate contradictions, we breathe in our own magnificence, and feel nourished and held in the body of the Great Mother.

Our Gregorian calendar, by contrast, models scarcity, so we always subtly feel like we’re starving: if you get what you need, there might not be enough for me. Living a compressed, alienating, sterile existence, our spiritual lungs squeezed for air, we evince these invisible shackles in the way we treat each other and Gaia. Time-is-money, me-first, bigger-better-best, I want it yesterday, are the credos of mechanistic time. Pursued by the clock, separated from our humanity, we’ve forgotten that time is creativity, that women carry time in their bodies, and have come to accept the clock as king.

rainbow bridge

Another Earth-based analogy may also help: I’ve observed a fairly rampant homeowner disgust with the “lowly dandelion”, scourge of suburbia’s well-manicured lawns — when in fact, dandelion is one of the most healing herbs available to humanity, offering itself in abundance wherever we dwell. It’s a supreme liver tonic, known to help detoxify the body’s “processing plant.” If you want to release that pent-up rage in a healthy way, the remedy is probably available, free and easy, right in your own backyard.

Dandelion is so plentiful that I find it also acts as de facto compost within me: surrounding and helping to decompose back into rich loam that which no longer serves. Yet we curse the weed and uproot it, spray poison to keep the green carpet unsullied. When we can stop “livin’ for the lawn,” focusing predominantly on the external, and make the subtle shift from ego mind to Universal Mind, we see with such great clarity the incredible gifts all around us.

In the 13 Moon Calendar, the number thirteen, like dandelion, grows everywhere; it’s the key thread on which the harmony of the calendar is woven. And on a 13 Moon Calendar, there’s always a Friday the 13th — in a 28-day month, every second Friday is Friday the thirteenth!

As our evolutionary readiness dissolves old superstition around the number thirteen — and all it represents — our collective mindfield makes a quantum leap from mindless fear to aware acceptance of thirteen as the sacred number of the spiral, the energy of kundalini awakening, the step to transformation and growth. Unified in time, living on purpose, a metamorphosis occurs as we attune to a higher frequency.

Metamorphosis means not only change, but going above, beyond what existed before. The Sufi mystic Rumi said, “Out beyond ideas of wrongdoing and right doing there’s a field; I’ll meet you there.” In this quantum field, we midwife moth into butterfly. Scared into sacred. Each of us into our true purpose and potential.

What is this time of profound transmutation helping you bring to birth? Whatever it is, may it be in beauty, for the greatest good of all.

© Copyright 2003-2015 Amara Rose. All rights reserved.

About the Author:

 

Amara Rose is a “midwife” for our global rebirth. Her services include transformational guidance, talks, e-courses, a digital download CD, and an inspirational monthly newsletter. She is widely published in health, business and new thought magazines, both digital and print. Learn more: http://www.liveyourlight.com

 


06 Nov 2015
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Featured Artist – November – Samuel Farrand

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In The Words of Sam

“All of my creations are an attempt to illustrate the layers that make up consciousness as I perceive it to be. I like to start all my work off with a black background; to me it represents the space of unbound infinte potential. This space is talked about in many religious beliefs and creation myths from around the world and is what is commonly referred to as “the void” or “clear light”. When I create from this clear light it allows me to enter into a deep sacred space where I can attune to the subtle energy and vibrations of the world around us and most importantly that which is within us. Some of the dominant reoccurring themes that I enjoy creating are expressions of ancient and contemporary culture, geometry, divine proportion, spirituality, architecture, symbolism and nature. Creating in this fashion is a spiritual experience for me and often times produces the feelings of bliss, excitement, wonder and nostalgia; it is my hope as the artist that my art can help evoke the same feelings for you and also offer a similar spiritual experience.”

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“In every piece of art that I create I strive to bring to you timelessness, nostalgia, wonder, introspection and pure imagination. For me creating art is a spiritual experience, it allows me to attune to the subtle energy and vibrations of the world around us and that which is within us. I aim to focus my art on that which is progressive and perpetual and that which empowers and inspires. It is my hope as an artist that people of all ages and all walks of life, cultural background, and all religion can find enjoyment in my work and that my art can help people see the common thread that links us as human beings, after all I am you, and you are me or as the Mayan’s would say In Lak’ech ala K’in”

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Life (Consciousness) I believe is a miracle. So many facets of life inspires me to want to create art what I personally enjoy dpeciting in my work are visions of ancient and contemporary culture, dreamscapes, geometry, love, indidvidual spirituality, architecture, symbolism, space and nature. I feel like everyone can relate to all those things so I choose those to be dominant reoccuring themes in my work. It is my hope as an artist that my visions fascinates you and brings to you feelings of bliss, wonder and nostalgia. Thank You for taking the time to read this, I have many more art pieces in my archive that needs to be added so make sure you come back often to see what is new!

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Beginnings

Sam started exploring the digital medium in 2002 after he first discovered Adobe Photoshop 7.0 and then in 2004 shortly after he discovered Adobe Illustrator he decided to adopt the digital medium as a means of creative expression. His early works had hints of inspiration by artists such as MC Escher, Victor Moscoso, Wes Wilson and Salvador Dali. In 2008 Sam took his art further and enrolled into Chester College a private art school located outside of Manchester, NH where he would pursue his BA in Graphic Design

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Education

Sam studied at Chester college where he endured brutal critiques and intensive classes in art and design history and theory. Having been educated in art history, Sam was able to come up with his own unique artistic style. Drawing his inspiration from ancient and contemporary culture, sacred geometry, spirituality, fantasy and nature. Sam weaves his inspirations by representing them through patterns rooted in fractal, recursive or logarithmic mathematics. He has developed the technical skill to weave several inspiring thoughts into one another so that in the end what lies before the viewer is a complex composition that resembles a dreamscape in which fantastical imagery, geometry and vivid colors are interwoven with one another.

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Professional Career

Sam launched his work publicly at his successful art opening “Resonance” in Spring of 2012. After 3 weeks of his art opening Sam’s work went national. From that he had the good fortune of having his second show one week later at an event in San Francisco, which was put on by famous visionary artist Alex Grey. The following week his work would be shown in Los Angeles. In Fall of 2012 Sam curated and directed his first art gallery in Boston featuring several upcoming and established national and international visionary artists. 2013 showed a lot of promise for Sam when he was invited to show case his work to an audience of over 10,000 people on New Years Eve in Berlin, Germany. 2 months later his video project “Sacred Energy Aumetry” (SEA) was performed live for the first time in Mexico City at an international VJ conference presented by his video co-creator Nexus Visions (Ferdinand Real). The video taken from that performance went viral on youtube and received over 68,000 views in just a few days. Since then Sam has shown his work at over 25 major Music and Arts festivals from all over the US, as well as making a presence at a handful of international festivals, this large exposure of his work has helped Sam establish a world wide audience.

Sam has done commissioned graphic design work at a international level and has been the senior designer on several branding projects across the globe as well as Senior Designer/Art Director for several major Music and Arts Festivals across the North Eastern United States. He works with many of the most respected long-standing organizations in his Industry and has designed almost every product imaginable from designer bed sets, hats, and fashion tees to accessories, holograms and hydration paks.

As 2015 begins, Sam has already been booked to exhibit at 8 Major Music and Arts Festivals across North America and has had his art featured on Fox News gracing the cover of Best-Selling author, Chris Kilham’s newest book. Having and maintaining a strong background in art and design history he continues to strive to redefine what it means to be a graphic designer and digital artist in the 21st century and is eager to challenge the rules that conventional graphic design and art theory and principles has to offer. To find out and learn more about Sam’s latest projects and his involvement be sure to visit his website samuelfarrand.com

You can also check out some of his T-Shirt designs for sale at Ravenectar.com

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05 Nov 2015
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DOCUMENTARY OF THE MONTH – November – HUMAN

What is it that makes us human? Is it that we love, that we fight ? That we laugh ? Cry ? Our curiosity ? The quest for discovery ?
Driven by these questions, filmmaker and artist Yann Arthus-Bertrand spent three years collecting real-life stories from 2,000 women and men in 60 countries. Working with a dedicated team of translators, journalists and cameramen, Yann captures deeply personal and emotional accounts of topics that unite us all; struggles with poverty, war, homophobia, and the future of our planet mixed with moments of love and happiness.

The VOL.1 deals with the themes of love, women, work and poverty.

The VOL.2 deals with the themes of war, forgiving, homosexuality, family and life after death.

The VOL.3 deals with the themes of happiness, education, disability, immigration, corruption and the meaning of life.

yann betrand

The inspiration for this film started a few years ago for filmmaker Yann Arthus-Bertrand, when his helicopter broke down in a rural part of Mali. While he was waiting for his helicopter to get fixed, he spent a day with a local farmer, talking about the farmer’s hopes, concerns, priorities, and examining the basic questions about life that transcend all cultures. It was the first time the filmmaker threw himself into the experience of someone else from a completely different part of the world. Fast forward, with the help of Google, the United Nations, and 2020 everyday people around the world, Arthus-Bertrand is bringing his experience to all of us. HUMAN has become the first film to premeire at the General Assembly Hall of the United Nations. It premeired to an audience of over 1,000 people, including U.N. Secretary General Ban Ki-moon.

During the film’s creation, Arthus-Bertrand interviewed 2,020 people in 60 countries with his team of 16 journalists. Every interview comprised of the same 40 questions, discussing heavy subjects from religion and family to ambition and failure.

The visual elements of the film include single-frame interviews with a black backdrop, interspersed with signature sweeping shots of deserts and mountains which Arthus-Bertrand is known for, all of which is blended with a soundtrack of Armand Amar composed world music. The filmmaker’s intention was to portray the world through three voices: people, landscape, and traditional music.

“Getting at the heart of what it means to be a human can be a little heavy” Arthus-Bertrand


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