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Pozen
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| A transapient avatar meditates on a pozen koan beyond modosophont comprehension | |
Transapient art/religion/contemplation noeticity.
Pozen grew out of Zen, but Pozen is not Zen. Pozen is as far beyond Zen as Perfect Art is beyond baseline Art. It is said their are as many schools of Pozen as there are Powers that practice it. Pozen runs the gamut from subtle to ostentatious, from quite contemplation to active satori, from at least partial sapient comprehensibility to complete obscurity and paradoxicality even by rinzai standards.
The influence of Pozen on the various, mostly modosophont schools and traditions of Zen cannot be underestimated. The Satorist and Trader Schools of Zen have especially incorporated Pozenist koans and practices; the Negentropist Zennists have been very keen to develop Pozenist aesthetics and contemplation practices. Only the more isolationist and ultra-orthodox baseline, nearbaseline, and anthropist schools and practioners of traditional Zen have resisted the influence of pozen.
Many Pozen concepts are beloved by Zen masters because they do not fit into baseline brains; Pozen easily produces statements that simply cannot be comprehended except by a transingularity power. The fact that statements can be shown to students that are known to be meaningful while at the same time impossible to understand is regarded as very inspiring. To a Pozen practitioner this practice is mildly amusing: "showing the ants a transistor so that they get confused and look at the moon instead" as 459800024598 of Myles put it.
The true masters however see the truth between the bits.
To quote a certain Pozen exchange:
The Daimon Broderick commented:
'The Rabbi Penrose speaks: "May a golem utter the name lending it life?"'
The Bodhisattva Hofstadter's commentary:
"Does an Escherichia Collie Bark in the Woods?"
Arenamontanus answered:
"The arabidopsis in the front garden."
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Development Notes
Text by Anders Sandberg and M. Alan Kazlev
Initially published on 19 December 2001.
Initially published on 19 December 2001.
