Play Fare
Copyright (c) 2011 W.B.Lees
Instead of a regular column, why don't we have a play at a row instead? Our themes for this essay are gearing up for self-motivation, soul sentiments, metaphorical self-contentment architectures, soul soles, and playing fare with the audience.
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I'm working on not bringing work home, but it lingers with me on many week-day nights. I have noticed that when I am in my 'performance mindset', I find it difficult to employ reading for enjoyment and cooking for pleasure. When you drive for yourself, there's a different mechanic than what drives at work. Both reading for joy and cooking for discovery are activities that you give-yourself-into, and require a level of willing participation, to commit to an untasted outcome. Sustaining your pace and traction during your involvement erquires a different best operating "gear" for self-motivation. Navigating the passage of time through a story or recipe experiment has a different gravity and the variety of terrain (local relativities) to weign in.
Planning and executing a recipe cook-out requires that you pay attention to the physical textures and things can get messy. Reading for pleasure is also a sensorial participation-act where you can play along by sounding it out and acting it out. In participatory journeys, practicing pronoucation pays off. Its about the faces and the hands. There is escape in the physicality of the traversals. If your pleasure is lacking in the routine routines of your living, you may be bringing in your work-mate utilitarian who doesn't see the need for separate cocktail, dining and coffee tables. If smokin' isn't a pleasure, why bother?
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What do the ideas of Fenway Park, Queen Mary, Rolls-Royce motorcar, Zion's National Park and the Circus have about them? Things that are worn (time spent in) and war torn and stand in the passage of time become worn-in soul, like rock sedimentary. They become more occupied. Places that take us places are metaphorical situations; the (sites) are content in their own motivated elapsed time. To spend time their (sic) is like a type or classic form of motivational flow, perhaps being work and pleasure and hauling and sports and danger and living and dying. "Metaphoric things can have own souls." (LeesXI:XXIII,2) To be appreciating, books and recipes and pleasure vehicles, must spend alot of time to be well traveled and journals for the taking.
If you can get into it and get it started, you are carried away and through the metaphorical passage; and when you exit there is a motivational gift shop, where you find (out) what you came for: what was taken as needed, what was taken as desired and what was taken as directed. You are carried over the river, and when you awake the next day there is only the hangover.
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A motivational vehicle has its own feel "ride". Being in an occupational hazard of your own choice is a secret passage. Being in metaphorical situation embodies choice and choices in the context. Metaphoric space-time has speical notions of "running" and "run-time". When you are in the theatre of the mind and the show has started, just where you are and just what your doing, exactly?
What sets these person-place-things apart? These type and sub-types of venue mass-market are all the same and you could be anywhere. When they include separable, fixed provision for the local values, they become a class to themself. They become unique and individually irreplacable where the concrete doesn't cure, the patches are wearing, and medal metals are showing. As the "sight" wears, it becomes a soul in concrete shoes in exchange for loosing its newness. Like your bowl-plate meal that time at the Mongolian stir-fry places, its the dim sum of your choices, self-contained and self-contented.
While you are "riding the ride", you are not to be intrrupted, because you are in-the-running and might lose valuable context. While you are "enjoying the show", you are making the rounds in a physicacal sensorial traversal, marking the steps in a mechanical clock-play. There will be no seating while the show is running and the bus is in motion. Once you've paid the premiem and are booked into this line, it's a whole 'nother level that your getting. Theatre cruises having several things going for them at the same time.
Envisioning a line of "people moving experiences" with comfort accellerations and cruising altitudes and durations and clienteles and destinations is the beauty, function, purpose of having family-line architecture: each a new world of new worlds. For every architecture, there is an archtype. There are architectures, and there are family friend places.
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There are soul minds and sole minds; there are soul proprietors and sole owners. From the sole minded comes the sole entry in its own directory a genre itself constituting. From the soul mind, long traveled, long worked and long experienced, comes the soulful sound and texture of my newest old place. In the soul are the comforts of spaces and times well worn-in and easy. Soul food places are overlooked and unassimilated, being where they are being their ownly advertisement which is no news to the locals.
But it is the Grand unique self Architecture channels the sole mind arises the sole-mindedness of a abstract person-place-thing that is unique and "foreign" and "alien" to the establishment. It took an eclipse on a mountain on the other side of the Earth to prove Einstein outside of our space and time. Is there anyone that Shakespeare did not invent? An architecture enhabits the greatest best use of space of its time. A Grand Architecture realizes its line and its dynasty and its time-true fidelities; it is of the space and time of lifetime, a space for a space for spaces, and a time for a time for times.
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Final Act: Playing Fare with the Audience
We climax this performance final act, now showing, with the wisdom of the entrepenerial show man archmage P.T. Barnum: "There's a sucker born every minute.". Or more went finely: "No one ever went broke underestimating the Taste of the American Public."
To quote from Lees:XI:XXIII:5, "If you want life to 'play fair', you must play fair [pay fare]yourself and behave in the context in which you find yourself" (and yourselves).
There is a chance you are being watched right now somewhere and sometime on some network or cable or airwave; there's a chance you could be living your live story; there's a chance your show could be your series that lives on in syndication in other outlets. While you're in-the-running you need to be on your best behavior. You should be planning to make it good.
Here is wisdom to those who might be feeling that the life that they are living has not played fair with them from there (sic) point of view of the time.
It's elementary to our physical perception that there be antecedents and there is labor and there are consequents of any lasting event. As any First Date will tell you, "there is no free lunch". "Nobody rides for free."
There are costs to be paid in advance, tips to be left, and prices to be paid at delivery. It all adds up, and there will be a reckoning. There are no bad Second Dates, if you are paying attention to score. There's a reason there are back and front seats, drivers seats and passenger seats. Your experience, and your perception of your experience, is in the seat of your pants and the seat of your jacket and the seat of the moment. You are paying for this seat and you get what you booked in advance and what you saved for and what you paid for and you'll get whats coming.
It is said that the first three most important qualities of Real Estate is Location, Location, Location. It is also said, that you never get second chance to make a first impression. You appreciate in space-time-value when you understand the time-space-value of money. There's a reason that monetary value is called currency: its what you paid for it and what you could get for it and what you have invested in it at this moment.
You being to learn to appreciate what you have and what you are having and what you could be having when you put a mental cost figure to where you are right now, and where you'll be having to be after that. You sense of "not being played with fair" is a temporal perception of where you are seated this time, creating what class you feel you are in.
You know what you have when you realize what it cost you and realize what it didn't cost you when you have reached your seat. You can find out what's next from whose next to you for free. It doesn't cost you anything to make the most of who and what's available where you are at. You can ask to be reseated and the staff will do their best to accomodate you.
It's second nature: once the movement gets underway you can reseat yourself anywhere you can reach out in time and once you're there no one cares if your in early or in late.
Are you player or audience? In the heat of the moment, there are many ways to play it.
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