咪咪大了

入五台，于金刚窟前将示灭。先问众云：“诸方迁化，坐去卧去，吾尝见之。还有立化也无？”众云：“有也。”师云：“还有倒立者否？”众云：“未尝见有。”师乃倒立而化，亭亭然，其衣顺体。（《景德传灯录》卷七<五台山隐峰禅师>章）

其实最终我觉得也就求这么个境界，也便是一生要面对的唯一核心课题。

读毕公案，放一张◯△□乐队的《◯》，颇巧符合此时心境。嬉皮年代的日本表演艺术团体，民族和西洋仪器松散合奏，似见到AMT等当今迷幻即兴团体根源。初听似一幕寺山修司影片，二遍时豁然无所束缚，其味悠远，随性而至，可爱极了。比起AMT等团，境界高出何止一截。

Maru-Sankaku-Shikaku, whose name in Japanese characters is a circle, a triangle, and a square, were one of the lesser known early '70s Japanese psychedelic bands. The group existed from 1970 to 1973 and was led by Sakuro "Kant" Watanabe, who had recently graduated from the Ochanomizu Design Institute, and who also played drums in the band Murahachibu at that same time. Other members included Kohji "Tohchan" Miura, Etsuko "Manager" Watanabe, Reck, Chiko-Hige, Juno, and Yoshiyuki Hida. This troupe of flower children would travel to various Japanese cities, living in tents and sleeping bags and often performing on the streets with elaborate face paints and costumes when they didn't have a proper gig. Many of them weren't musicians so much as conceptual artists, and their performances were very freeform and unstructured, involved a lot of theatrics and visual art disciplines as well.

At this time Sakuro Watanabe, who was already publishing his own magazine, decided to release some records. In early 1973 the group recorded a couple different sessions, at the Gyoen Studio and at Tohchan no Kobeya. That year from these sessions the group released a single LP as well as a triple LP in limited quantities. These are all very improvised affairs, sounding like a more amateurish hippy version of the Taj Mahal Travellers crossed with Third Ear Band. Watanabe also released a conceptual 5th LP, -- a phonograph without sound, -- with one locked groove. The group disbanded later that year and Watanabe moved on to begin a Yoga practice（嘿，果真如此）. Reck and Chiko-Hige went on to form the avant-punk group Friction later in the 1970s.

下载：Part 1、Part 2

来自：Julian Cope's JapRock Sampler Top 50（里面全是猛料，可惜有些过期了）

今又与人争执于技术。关于技术提高对探索音乐新层次有无绝对必要的讨论争议，似乎就类似于南北禅宗得道过程的区别，北宗倚赖“渐修”，一个个层次提升，最终以得道，南宗则坚持人皆有佛心，磨砖无以成镜，坐禅与成佛无关，世人皆可随时顿悟。正如听者是否能够喜欢某种类音乐，能将音乐的概念扩展到什么程度，以南宗观念而言，最终依赖的并非是层级掌握的理论技术知识甚至经验，而是最根本的，他的美学包容度，他的世界观和价值观。听与做能走到何程度，考验的就是听者对艺术和生命/非生命本质理解到何程度。一例最为浅显，日本迷幻噪音即兴如灰野敬二，听众基本分喜欢、不喜欢两种，也即接受该音乐家观念或完全否定其观念，接受则全数作品可接受，不接受则一概视为哗众取宠。再往后看，音乐形式越偏离旋律音符节奏音色音准百倍，该分歧现象则明显千万倍。若一旦接受了某费解音乐的观念，并试图理解作者的思考，将该作品纳入审美层次思考衡量则是自然而然的事，从而又生成拓展范围的可能。换言之，它本就在那里，能否发现并欣赏，只在于听者内心的底盘有多大。待到达最宽泛之境，音乐本非音乐，艺术亦非艺术，其本质与你我万物皆同。观今环境（或认识环境），我们缺的，绝非技术。实在不明白，如此道理，何以为争？