A short note on this work.

it's kind of like building a house. what we were doing was sort of like building a framework for a house--maybe even sheetrocking the walls. there was a specific name for it: guitar craft.

if one was helping to build a house, one might be asked what he does. odds are, he won't say, "i'm a house builder." more likely that he'll say, "i'm a carpet layer," or "i'm an electrician." he may, in fact, wear multiple hats, but rarely at the same time. it's all part of a larger work, which is the house.

that which was guitar craft is basically the same idea. one could say that the foundation was j.g. bennett's work, which had a very firm and powerful bed in the gurdjieff work. both are inordinately important and necessary. rf's, and by extension, the circle community's, work is a sort of superstructure which is made possible by that initial infrastructure. or, as rf has put it, a physical manifestation of the bennett line of the gurdjieff work. This is probably an inadequate and inaccurate analogy, but it paints the picture.

guitar craft has ceased to exist, but i also see it as a building that has been established. you can't continue to build a building that is built--that is, you can't build your bedroom endlessly. there is a point at which it is done, and you now have to make it a home. this may mean rediscovering the building you've lived in your entire life.

My observation from the AAD course: that in my work on the course, I became aware of how little attention I pay to the process, and the shift in quality that comes when I do pay in.

A personal note: perhaps it's time to try something more public, in addition to bringing the circle into performance. An open circle, in the style of the Seattle circle? Would they mind? I'm sure the gcne would support this. . . . I think there's potential to tap, here in Boston.