#george gurdjieff

[entheognosis]

A considerable percentage of the people we meet on the street are people who are empty inside, that is, they are actually already dead. It is fortunate for us that we do not see and do not know it. If we knew what a number of people are actually dead and what a number of these dead people govern our lives, we should go mad with horror.

George Gurdjieff

[nousrose]

Without self knowledge, without understanding the working and functions of his machine, man cannot be free, he cannot govern himself and he will always remain a slave.

In Search of the Miraculous

George Gurdjieff

[groverspeak]

enneagram type ones - a yap-session on the reformer from a reformer

୨୧:🫀 🎧 - as an enneagram type one, I think we're probably one of the rarest, and (often) most misunderstood types. we're seen as hard-asses or too "uptight" and, on paper, that looks about right. but, our motivation and inner thoughts are forgotten. how can you judge us if you don't know us? or know our morals? people fail to see us as humans with true, full emotions- when we are some of the most sensitive types. I think this a crime often done against most "logical" (though I hate using that term) types. shoutout to all my other enneagram type ones, here's a playlist (not by me)!

type title: the Reformer

good qualities: a defined moral code, strong sense of right and wrong. purpose-driven. loyal. dedicated, passionate. honest. direct. idealistic. helpful. conscientious. reliable. discerning. noble. wise. caring. intelligent (but not in a type 5 way). perfectionism to a healthy, moving degree.

fatal flaw: anger. this sounds evil, right? how can a noble, moral individual also struggle with anger? that’s because no fatal flaw is just that word alone, a ones anger isn’t explosive, irrational rage all the time. enneagram ones place all they have into virtue— because of their need to be perfect, morally correct. a ones anger is derived from their other flaws, spurred on by resentment and self-righteousness. “buried anger at self denial”, as the EnneaApp calls it.

negative qualities: critical (to others and self). emotional rigidity. holds themselves and others to very high standards. perfectionism to a toxic degree.

“vice to virtue”: anger to serenity. this can sound confusing, or unrelated— but, the phrase “resentment to serenity” might make a bit more sense. anger to serenity is the process of going from having a preoccupied mind, beating a million miles an hour and full of self-judgement and melancholy to having a mind that understands you can’t be perfect all the time, and entertaining a space of inner peace and self-acceptance.

fictional characters: optimus prime. steve rogers. mary poppins. hermione granger, percy weasley. bruce wayne. spock. mycroft holmes. atticus finch. javert. kate laswell, vladmir makarov.

real-life examples: emma watson. c.s lewis. julie andrews. plato. venus williams. immanual kant. confucius.

motivation: enneagram ones are the crusaders. their goal is to live righteously, be right, and improve the world. this is heavily supported by a one’s strong sense of justice, and strong moral code. they are motivated by a want for a just and morally correct world and environment.

fear: being wrong, evil, or morally corrupt. as well as being incorrect. this is often why one’s are referred to as the “perfectionists.”

how they behave at their worst: because of a one’s strong moral code— if this code becomes impure or corrupt, everything else they do will also be that. like a super villain, almost. overly critical, judgmental. if something goes wrong, they internalize that and it’s immediately imperfect or flawed. they can often become obsessively self-righteous. tend to be incredibly rigid, almost seething and will hyper-fixate on small issues. they become merciless. enneagram ones, when they believe something heavily, know that they are right, they are loyal to their beliefs— if an unhealthy ones beliefs and code are challenged, they become ruthless, almost animalistic.

how they behave at their best: enneagram ones, at their best, can be incredibly compassionate and kind. their wisdom, rationality, and nobility often allows them to reach people further than most types in an honest way, because it aligns with their morality— because they want and long to do and be right and just. they are often consistent. good work-ethic. perfectionism leading into excellence (they excel in what they love). logical, while still remaining human. honest, won’t bullshit you.

what their anger is like: punitive. physical tension in the body. intolerant. wrathful. arrogant.

what their sadness is like: sadness that manifests in the form of frustration. they have a secret level of melancholy and shame. when unhealthy, they disintegrate into an enneagram type 4– being melodramatic, melancholic, self-loathing. though, this isn’t often through an internal-perspective, it can be twisted into looking inward. the inner-critic within them becomes louder, relentless and self-hating. type ones actually have a tendency to be depressed, and will also typically struggle with alcoholism, eating disorders, etc… any disorder or habit that gives them control. this is why OCD is also seen within them. they are often reduced into being cynical.

what sets them apart from other types: their need to be good. most enneagram types don’t fully care about being morally correct, but ones do. a ones natural nature is to strive and reach for the stars. and though it can be depressing to think about, the life of a one can actually be incredibly beautiful. ones are rare because most people aren’t natural-born leaders with the level of self-reflection (when healthy) to see who they are, and what their morals are. ones change and define the world, and everyone around them to be better. ones often see something nobody else does: good in people, how to improve, etc… despite being rather emotionally rigid, ones can have some of the highest emotional intelligence levels, because of who they are. if a one can work past that fear of not being perfect, allow the icy surface of their heart to melt, a one can love like sanctification and revival. a one sparks life in everything they touch, because when they commit— it’s out of nothing but a want to be good.

info dump: enneagram type ones are second most likely to experience melancholy, second to type fours.

⋆ ☄︎.·˚ * 🔭 - I love ones, and I love being a one, if you couldn’t tell. reach for the stars, ones! we’re some of the only people who’ll try. I know the inner-critic drives us all mad, that the need to be good enough— and never seeming to reach that— is over-arching and doesn’t ever leave. but, someday you’ll be seen. and even if you don’t fully grasp that now, know that your fellow ones will always understand: because we see deeper than most.

[marshmallowfairbanks]

“At the moment it is not yet clear to you, that people living on the earth can belong to very different levels, although in appearance they look exactly the same. Just as there are very different levels of art. Only you do not realize at present that the difference between these levels is far greater than you might suppose.” - George Gurdjieff

Art: Mighty Oak

[pithia]

Without struggle, no progress and no result. Every breaking of habit produces a change in the machine.

George Gurdjieff

[lowcountry-gothic]

The first person known to have taught the system was George Gurdjieff, a Russian philosopher-mystic of Greek-Armenian descent who died in 1949. He taught it to his students as a means for understanding the natural cycles of existence, not as personality typing.

Susan Piver, The Buddhist Enneagram: Nine Paths to Warriorship

[hiteart]

✨🎨 An exhilarating journey into the captivating world of art! Today, I embarked on a profound endeavor as I began working on the face of an oil painting featuring the enigmatic figure, George Gurdjieff. 🖌️✨

🌟 Gurdjieff's countenance is a canvas of stories, wisdom, and mysteries waiting to be unraveled. With every brushstroke, I strive to capture the essence of his gaze, the lines etched by time, and the depth of his soul. The face is the window to the inner world, and my goal is to infuse this portrait with the essence of Gurdjieff's presence and profound teachings.

💫 As I delicately blend colors and define each feature, I am driven by a profound sense of curiosity and reverence for the subject. The process of bringing forth his visage on the canvas is an invitation for viewers to connect with the depth and wisdom that radiated from Gurdjieff.

✍️ Commission opportunities: If you are seeking a one-of-a-kind, soul-stirring artwork for your personal collection or as a unique gift, I am honored to offer commissioned pieces tailored to your vision. Let's collaborate and create something extraordinary that resonates deeply.

🔮 Stay tuned for more updates on this captivating oil painting of George Gurdjieff. Each stroke of the brush reveals a little more of his essence, inviting us to explore the enigmatic nature of this extraordinary individual.

#OilPainting #GeorgeGurdjieff #PortraitArt #ArtisticJourney #CapturingEssence #ArtisticExpression #CreativeProcess #CommissionArtwork #ArtisticVision #ArtCommunity #ArtLovers

[juliansummerhayes]

(via Peak experience(s))

[ozkar-krapo]

Georges Ivanovitch GURDJIEFF [p. Thomas De HARTMANN]

"The Music of Gurdjieff / De Hartmann"

(4LP box. Triangle rcds. 1985 / rec. 195?) [AM/RU]

[musicollage]

Vassilis Tsabropoulos & Anja Lechner & U T Gandhi — Melos.  2008 : ECM 2048.

! acquire the album ★ attach a coffee !

[dreaminginthedeepsouth]

“Ultimately I want the freedom to die. To die the first death, the ability to let go all my attachments. Actually to let them go, literally. How is it possible? It isn’t at the moment. But little by little. If I can let one argument go, I have a freedom from that. The argument’s over. By moments, I wish to realize the possibility of death. How to realize that? I have to be able somehow to sense the loss of everything I value, except myself. Everything that my ordinary self gropes for, argues for, persists in. I have to see all that gone. All my constructions, all my plots and plans, my manipulations. I have to see myself disappearing from the scene. That is the way of our work, to get freedom. But of course not only freedom, courage. Because it takes a lot of courage. A lot of courage. Much more than I can imagine to be absolutely alone. Alone means forlorn of all these possessions. It gives a glimpse of a possible direction: the balance necessary for it. I have to have my ordinary faculties available, but they are not preoccupied by such problems.”

~ George Adie, quoted by Joseph Azize in 'A Gurdjieff Pupil in Australia'

(Ian Sanders)

[entheognosis]

There are a thousand things which prevent a man from awakening, which keep him in the power of his dreams. In order to act consciously with the intention of awakening, it is necessary to know the nature of the forces which keep man in a state of sleep. First of all it must be realized that the sleep in which man exists is not normal but hypnotic sleep. Man is hypnotized and this hypnotic state is continually maintained and strengthened in him. One would think that there are forces for whom it is useful and profitable to keep man in a hypnotic state and prevent him from seeing the truth and understanding his position.

George Gurdjieff

[nousrose]

We pay so little attention to ourselves, with no real interest in self-knowledge. We shut our eyes to what we really are, and spend our lives in the reassuring conviction that we represent something of value. We fail to see the emptiness hidden behind the facade created by our self-delusion, and do not realize that this value is purely conventional.

In Search of Being

George Gurdjieff

[postersbykeith]

[marshmallowfairbanks]

“At the moment it is not yet clear to you, that people living on the earth can belong to very different levels, although in appearance they look exactly the same. Just as there are very different levels of art. Only you do not realize at present that the difference between these levels is far greater than you might suppose.” - George Gurdjieff

Art: Mighty Oak

[elmartillosinmetre]

"La música de Gurdjieff me recompuso por dentro"

[El pianista Emilio González Sanz en el estudio de grabación. / JAVIER MONTEVERDE]

El pianista Emilio González Sanz vuelve a los conciertos y los discos con un álbum dedicado a música del místico George I. Gurdjieff

El escritor y compositor de origen ruso George Ivánovich Gurdjieff se llamaba a sí mismo "un simple maestro de danzas", pero su influencia como místico llega hasta hoy. Gurdjieff viajó por oriente recopilando melodías que tocaba en su armonio y editó en partituras Thomas de Hartmann. El pianista Emilio González Sanz (Soria, 1975) se confiesa fascinado por su figura y acaba de dedicarle un álbum en el sello Cezanne.

–¿Qué le fascina del personaje?

–Entré en contacto con su música a través de mi amiga María Testa, que lleva Música con Encanto y el centro Música del Mediterráneo en Marbella. Ella me dijo que por mi manera de ser y de tocar yo conectaría bien con su música. En 2012 me hice con los cuatro libros editados por Schott. De vez en cuando me acercaba a tocar. Es una música con un mensaje muy enigmático y críptico, pero a la vez muy sereno. Pasados unos años entré en contacto con un grupo de movimientos de Gurdjieff, una serie de danzas sagradas con música muy específica, parecida a las piezas de piano. Ese fue mi segundo acercamiento, ya al personaje, porque hasta entonces sólo había conocido la música. En octubre del año pasado un grupo de movimientos de Gurdjieff de Madrid buscaba a un pianista para una serie de movimientos en directo, reuniones que se hacen cada jueves. Fui a conocerlos y empecé a trabajar con ellos. Todas las semanas en las dos horas que duran esas reuniones hay ejercicios de meditación que se hacen con música de Gurdjieff. Fueron ellos quienes me pidieron un concierto con piezas de Gurdjieff. Yo llevaba cuatro años retirado de los escenarios. Lo dejé por circunstancias vitales y luego vino la pandemia. Pensaba que no iba a volver a tocar en público. Pero me propusieron esto y decidí hacerlo. Cuando hice la selección de las piezas, que fue la del disco, decidí titularlo Por el cuarto camino, porque ese era el nombre de la enseñanza espiritual de Gurdjieff: a grosso modo, consiste en buscar una especie de iluminación a través de la atención en las cosas cotidianas, atención completa de todo lo que haces a lo largo del día, aunque sean cosas pequeñas y rutinarias. Cuando por primera vez hice un ensayo general con el concierto, por dentro algo me hizo clic y se aunaron todas las piezas que estaban desconectadas dentro de mí. Luego hice el concierto y me di cuenta de que esta música tenía un poder sanador. Está designada como música sagrada meditativa. El efecto que tuvo en mí fue de sanación total. Me recompuso por dentro. 

–¿Cuáles son las características musicales que producen ese efecto sanador?

–Es música muy desnuda, aparentemente sencilla, a veces te encuentras simplemente con una melodía y un acompañamiento, pero hay algo en la manera en que están escritos los intervalos y los armónicos. Cambia mucho que estén escritos los acordes solo con la quinta o completos, los armónicos que se producen son distintos. Gurdjieff consideraba la música como instrumento de sanación. Con su armonio de mano tocaba muchas veces estas melodías que fue recolectando durante los más de veinte años en que estuvo viajando por Oriente. La tocaba a sus alumnos y estos decían que tenía un poder transformador. Y la clave creo que está en la combinación de intervalos y armónicos, porque la estructura es de una sencillez pasmosa. Hay piezas que no tienen más que la melodía y acordes de acompañamiento muy sencillos, pero cómo están dispuestos estos acordes y los armónicos que se producen a nivel vibracional, ahí está la clave de ese poder de sanación.

–Conocemos la obra de Gurdjieff por Thomas de Hartmann...

–Eso es. Hartmann era alumno suyo. Dejó un libro maravilloso escrito con su mujer que se titula Nuestra vida con el señor Gurdjieff en el que hablan de todas estas experiencias, todos estos viajes que hicieron entre 1924 y 1927, un período en el que compilaron más de 300 piezas. Fue Thomas de Hartmann el que occidentalizó toda esa música oriental: hay música de los derviches, de las mujeres asirias, de himnos de templos perdidos, del ballet La lucha de los magos...

–¿Qué criterios siguió para seleccionar las piezas y ordenarlas en el CD? 

–Cuando me puse a hacerlo, se me hizo un mundo porque eran muchas piezas. Me guie un poco por mi intuición musical para hacer una primera selección entre mis piezas favoritas de cada uno de los volúmenes. Intenté ordenarlas de forma armónica, darles un encadenamiento que auditivamente les diera coherencia. Así lo fui haciendo: busqué que enlazaran por atmósfera y carácter y que armónicamente estuvieran relacionadas. Gurdjieff utilizaba el eneagrama que ahora se usa para estudiar la personalidad con sentido cósmico-musical. En cada una de las puntas ponía una nota y empleaba la ley de las octavas. Quería representar esta ley de las octavas en el CD. La primera pieza está en do menor. Cuando empieza el tercer volumen, la Oración de gratitud y el Himno 43 están en do menor, que sería como una segunda octava, y luego la última pieza de La lucha de los magos y el Himno esenio del cuarto volumen también están en do menor.

[Otro momento de la grabación del CD / JAVIER MONTEVERDE]

–El CD incluye dos piezas actuales dedicadas a usted...

–El recital lo hice sin ellas, pero decidí incluirlas en el disco. La Paráfrasis sobre el Himno 43 de Gurdjieff fue un regalo de cumpleaños que me hizo Ana Vázquez Silva. Ella se quedó fascinada con el Himno 43, porque yo lo tocaba en un programa anterior, la primera vez que metí algo de Gurdjieff en un recital, y a ella le gustaba que la melodía estuviese en el centro con acompañamiento por arriba y por abajo. La obra de Javier Centeno no está relacionada con Gurdjieff, pero en la partitura dice que está escrita para ser interpretada con paz. La coloqué después del Himno esenio, porque también está en do y esa atmósfera suspendida, que parece que no hay pulso de tan lento que es, tiene una continuidad muy natural en la escritura acórdica de la obra de Javier. Las dos obras están dedicadas a mí, las consideré como espejos en el siglo XXI de la música de Gurdjieff.

–En su día, a finales del siglo XX, esta música se difundió en grabaciones y se vinculó mucho al fenómeno coetáneo de la New Age, ¿qué piensa al respecto?

–Yo creo que no tiene nada que ver. La única conexión que veo es que en ambas músicas la atmósfera es de carácter espiritual, con una invitación al recogimiento y la tranquilidad, pero la música New Age tiene una estética realmente diferente.

–¿Significa esto su vuelta definitiva a los escenarios?

–Lo ha sido. Es una vuelta de otra manera. Las cosas se van a vivir con más tranquilidad. Lo que quiero es disfrutar más del proceso, que cada recital sea algo realmente especial. Lo estoy viviendo con otra madurez. Este programa ya lo he hecho seis veces, y cada vez ha sido una experiencia de mucho sosiego y mucha comunicación con el público. Me gusta hacerlo de arriba abajo, sin aplausos, sin interrupción. El disco lo grabé prácticamente en una toma, buscando justamente esa sensación de continuidad, de directo, que los armónicos de una pieza te condujeran a la siguiente. No sé cómo va a transcurrir mi vida a partir de ahora. Pero esa especie de maldición de que no iba a volver a tocar en público se ha roto, sí.

[Diario de Sevilla. 3-12-2023]

POR EL CUARTO CAMINO EN SPOTIFY