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when it's all about 22 . .

rodaki

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22 . . now here's a hexagram I' ve often felt very strongly about . . Being wired to feel very powerfully all kinds of sensations - colours, sounds, smells come to me cranked up a notch and make indelible impressions on me - 22 is often what it's all about in my life. Mine is of an artistic sensibility which might sometimes be seen as decorative or, unimportant.
When I talk with YI about it, it usually goes 22 on me - or, that legendary 11 - which, sometimes, I find bothersome, since I just can't shake off the general idea that it (22) should not be used for great decisions, just for the little ones . . as if the cup we use, the colour of our sheets, the smells of our childhood house don't affect our lives in subtle and imperceptible ways that silently shape us. As if the stories and plays aren't the nest, if not only ways, to share the hardest truths and great things are not filled up by small ones and those small ones, don't often hide our biggest secrets . .

Btw, this is not meant as a rant in any way whatsoever - I'm too happy with the inconspicuous greatness to be angry about ideas; this was mostly meant as a introduction to an artist's (potter's, to be more precise) statement I came across, which, to my mind, encapsulates many of the things I see in 22 . .
I hope you enjoy!
:)



The foundation of my work is grounded in my desire to create thoughtfully crafted and functional ceramics that people integrate into their daily lives. A handmade cup that I have carefully crafted, sculpted, glazed and fired based on my own ideas, preferences and experience, can become an intimate object in another person’s life. It becomes not only a vessel from which they drink, but an entity with its own history and identity.

My ceramic work is primarily hand-thrown and is created with the idea that form and function can —and should— be equal partners. The work that I create is minimal in design, with emphasis on the aesthetic and tactile experience. My objects are small and familiar. The clean smooth lines feel natural and unobtrusive, and I choose simple glazes with little color variation, which compliment and enhance the form.

The experience of creating these pieces is an extremely important aspect of my work. There is a compelling sense of control in creating something that did not previously exist. As I sit at the wheel and engage in the meditative and repetitious act of throwing, the burdensome elements of life peel away and I am able to subconsciously inscribe my personal identity and story into my design. Designating an aspect of my being to an object that will exist long after my time is rooted the concept of self-preservation. This desire to achieve a sense of immortality is not only a fundamental aspect of the artistic process, but a basic and universal human desire.

- artist statement by Brit McDaniel
 

Trojina

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I just linked to this from the 22uc Experiences thread. So I thought I'd biff it up to the top of the pile so discussion of 22 can happen more here rather than the Experiences thread ?
 
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rodaki

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sure, people can add their thoughts about it here, I'd love to read and ponder ;)
 

Trojina

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As 22 is the new 44 I thought I'd bump the thread up and renew the arena for Dora's 22 ideas.

When I talk with YI about it, it usually goes 22 on me - or, that legendary 11 - which, sometimes, I find bothersome, since I just can't shake off the general idea that it (22) should not be used for great decisions, just for the little ones . . as if the cup we use, the colour of our sheets, the smells of our childhood house don't affect our lives in subtle and imperceptible ways that silently shape us. As if the stories and plays aren't the nest, if not only ways, to share the hardest truths and great things are not filled up by small ones and those small ones, don't often hide our biggest secrets .
Yi says don't go by surfaces to make serious decisions. OTOH surfaces can be all there is to go on....the instructions for the flat pack self assembly IKEA storage unit for example. Yes I first got the idea from chingching that 22 could be, on occasions, an advice to 'look at the pictures' to figure out how to do things. But Yi says beware of making deeper choices just by the appearances of the surfaces of the situation.

But you don't think Yi is right on this occasion ?

Anyway as to the quote...no I don't think the colour of our sheets, childhood smells or our cups do deeply impact on our development. The way our parents treat us, the family atmosphere these shape us a helluva lot more than the colour of our sheets.

No one has to spend 20 years in therapy because their sheets were red when they were 5.

as if the cup we use, the colour of our sheets, the smells of our childhood house don't affect our lives in subtle and imperceptible ways that silently shape us
.

Hmm no I don't think these things 'silently shape us'....they are only things. They may be incredibly evocative, bring memories and so on, associations, but they do not fundamentally form who we are. My mother and father had far more influence on me than any cup ...infact the cat probably influenced me more than any cup, since it was alive and the cup was just a cup. I do recall the day my mother gave me a blanket with spaceships and rockets and the moon on, and how delightful I found it to play spacemen on the bed...but that did not 'shape' me.

I think in 22 Yi is saying don't make important far reaching decisions only on the basis of what you see. That's all. For the kind of shaping you are talking about, that which influences and seeps in might be 57ish or 31ish or even 59ish . I don't think you have a sound point with Yi that it's mistaken when it says we must not take far reaching decisions based only on how things appear. I think you are talking about something else... Also you have to look at the pair 21 and 22. I think they talk about each other . 22 can be known by the way it is not 21....

I'm wondering if you are just identifying so much with the idea of art shaping life that you see Yi's words in 22 as a kind of affront to artists. But that misses the point IMO .
 

knotxx

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I am playing around with the idea of this very confusing hexagram (22) having, sometimes, something to do with right-brain thinking. I've had several readings that fit with that, including one today about the benefits of a workshop I'm thinking of taking that's about how to elude your strict logical inner editor when you're writing (the reading about the workshop was 22uc).

This seems to fit with the idea that you perhaps shouldn't make big decisions relying solely on the right brain, but that the right brain it's marvelous for art. "brings light to the many standards, but does not venture to judge"--yes exactly (and REALLY fits this workshop). Also might fit with trojan's unexpectedly-tipsy and cashier-unable-to-focus readings . . . and not with others of course. This is a tricksy hexagram.
 

moss elk

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I was sitting in a cafe discretely checking out a woman.
I asked for advice about talking with her or not.
yi told me i was being superficial. 22 unchanging.


Then i asked about her and got 44 unchanging.
Which told me she would be hard to get along with.
 
S

sooo

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I was sitting in a cafe discretely checking out a woman.
I asked for advice about talking with her or not.
yi told me i was being superficial. 22 unchanging.


Then i asked about her and got 44 unchanging.
Which told me she would be hard to get along with.
The reading strikes me as completely natural. After all, I wouldn't expect to begin an introduction by dryly conversing about deep or intellectual matters, nor would I be attracted without at least a degree of her outward appearance being appealing. Even a nice smile or other welcoming body language is encouragement to proceed. The blush of a peach is what attracts to her sweet nectar and the large seed of a tree deep within. And this is in no way limited to the human species, it permeates all of nature.

I think your analysis was far too clinical, but also quite typical, based on most teachings.
 

moss elk

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I agree on the important role of beauty in nature/life,
(good and necessary but secondary to principles as in the text of 22:
"but makes important decisions in conformance with higher laws.")
and I see how you mistook what I was saying.

I didn't ask for advice on how to approach her,
I asked if it was a good idea to approach her.
that's why I interpreted 22 unchanging that way.

so more info:
I knew her casually for a few months from the café.
and also knew that she was something of a hot head. 44

too clinical? well maybe :)
but possibly accurate.
 

rodaki

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I'll be eternally baffled by those who think 'superficial' when they see 22 forming, but nowadays I just let it go. I think it's mostly an attribute of people's analytical (left-brain ;) ) approach to interpreting in general, while for others who 'think' mostly through their senses, 22 carries great meaning - yeah sure, it's not the courtroom kind, not the judgement type of meaning either, but it's great for our lives, nonetheless . .
 

knotxx

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Yeah I would TOTALLY have thought 22 meant "she is pretty -- show her your best face and court her" (since 22 has so much courting/betrothal/wedding imagery) and that 44 was about er, sex, actually.

But the interesting thing about yi is, as trojan often says, how we develop a private language with it. For me untangling Private Language from My Own Misunderstandings is an ongoing and intuitive process, and I try to avoid stepping into someone else's similar ongoing process.
 

rodaki

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For me untangling Private Language from My Own Misunderstandings is an ongoing and intuitive process, and I try to avoid stepping into someone else's similar ongoing process.
love that!
 

moss elk

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"and I see how you mistook what I was saying."

My apologies sooo for this poor wording.
i posted it quickly without editing.
a better choice of words would have been something like:

"And i see the misunderstanding in our communication here"
 
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sooo

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Totally cool, Moss Elk. No apology necessary nor any offense taken. We're here to discuss our perceptions and experiences concerning practical Yi applications. I don't perceive any misunderstandings, just a different view of application.

I'm simply saying that I would not have been dissecting the 22/44 as much as recognizing it as a completely natural and rather encouraging sign, rather than giving cause to second guess my natural inclinations. But that's just my way of reading it. I consider it a luxury of not being in an already committed relationship. But then, I still flirt with the gals in the check out store lines. So much for my discreet discrimination, lol.
 
M

mirian

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Hi rodaki,

I have just come across this thread, probably a bit late. But anyway just to share that I have received lots of 22 (unchanging and with lines) in questions about money. Yes, I have taken the obvious interpretation of Yi saying "you're been superficial, look beyond the surface, you can't make decisions like this" and all the rest of it.

But now I am starting to think that Yi might be trying to draw my attention to the logic -or lack of it! - of my actions/decisions when it comes to money. I am a very economical person on a daily basis, I can save pennies and coupons ! and you will never see me on a shopping spree! And still I have made some very bold decisions in my life concerning money that don't really "fit" in the economical type and even though successful some of my actions would have scared the hell out of more conservative types, moneywise.

So perhaps all this 22 about money is how my brain works, or perhaps how it doesn't !
 

rodaki

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hi Mirian and thanks for posting your thoughts here . . you provided me with a switch for a series of thoughts that crashed and collided and then came together anew (which always feels great :) )

(Readers, beware of ceramics' afficionado soliloquy coming your way below :mischief:)


So, by way of detour, recently I was looking once again into the roots of the word 'porcellana', which comes from the latin for 'cowrie shells' and a mental leap-link reminded me of the etymology of Bi (22's name) which actually comprises of the characters for plants+shells (cowrie shells according to some, which was also known to be used by the Chinese as . . . money (wikipedia link).

The interesting thing about porcelain though is that it was its own kind of 'currency' back in the days when Europe's rising middle class was going into a whole lot of trouble in order to obtain the white, translucent porcelain sets they displayed in their homes as a sign of their power, sophistication and means (a big part of what Bi traditionally stands for) and which made it known simply as 'china', the country of its origins.

At the same time, the material of 'china', porcelain itself, is a highly demanding material that was very hard and expensive to process back then and still is considered one of the most difficult materials to work with in the ceramics world. Working with porcelain is actually a sign of a ceramicist's level of expertise and mastery and asks for an immaculate workshop, great precision and attentiveness and extremely high temperature kilns to give it the traits of hardness, durability and low porosity that make it so sought after.



To make a long story short and to get from porcelain ware to actual money to the shells and the meanings hidden in Bi, I'll just say that, imo, all the above can make for a great example for everything Bi stands for, intertwining material aspects with essential value, with expertise, with objective value, with social and status symbols and with graceful and beautiful ornaments as well as its purely practical applications in dentistry, electrical insulation and elsewhere - a mixed bag of sorts which doesn't in the least leave money out of its equation (or at least, not in how my brain works too ;) )
 
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mirian

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hi rodaki, fascinating how you have drawn this picture to link porcelain, value, money and 22. It makes all sense to my brain ;) And just to add a bit more, I am really into porcelain nowadays, and have been trying to acquire a bit of knowledge, without spending too much money, of course :D
 

rodaki

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hey, I"m a bit relieved that it makes sense to others too (pheew!) ( . . sometimes I struggle about whether I manage to express my thoughts clearly and comprehensively)

What I liked about the idea of linking Bi and porcelain is what you mentioned too, that it creates a model which brings lots of different options together, in the same form . . A porcelain object can be a mere decoration to some, a life's work to another, a token of mastery or a sign of power and wealth to another, so on so forth - what I think happens with Bi also. For me there's a lot to be gained by that, by looking a bit closer to it and its plant-shells (would that make it a flower decorated china? a flowering of wealth? what else?)


Anyways, there's a great BBC documentary about porcelain online (called 'A Beautiful Thing: Passion for Porcelain'), I'll add the link if you're interesting to know more about it, it's quite a fascinating watch (http://www.youtube.com/watch?v=2N8Qgs4Yhh0)
I've done a bit of reading and research of my own on porcelain so if you have any questions ask ahead, I might be able to help some :hug:

take care!
 

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