In a journal entry from 1946, Messiaen describes fragments and symbols for a ballet - a piece he never wrote.  It's fascinating and beautiful and I'd be interested what other composers listening to this think about it.

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I was out for a run this weekend and learned something important.

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A sprawling episode...even more than usual, I guess.  Taking refuge is a gift of the meditation practice, and we can find reminders everywhere.  Including in musical moments, for example the second movement of Beethoven's last piano sonata.

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What combination of pens, pencils and paper do you use? Here's what's on my desk depending on if it's for work, journaling or music.

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I've been thinking about titles...not titles that suggest form, or titles that suggest narrative:  but instead titles that are a necessary corollary of the musical experience.  

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Henry David Thoreau wrote an essay for The Atlantic magazine talking about walking. It includes a bizarre and wonderful experience he had one day over by the neighboring Spaulding Farm.
(here's the essay: https://www.theatlantic.com/magazine/archive/1862/06/walking/304674/).

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the cycle of difference between aspiration and activity.
more notes on meditation here: https://www.zenglop.net/zenglop/meditation/
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music is a good analogy for the human condition...both phenomena arise, do something and then stop. In between, we compose. Music, aesthetics, human narrative.
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Reading through the book "Olivier Messiaen and the music of Time" by Paul Griffiths. Olivier Messiaen uses compositional techniques to write music that is outside of time: what does that mean and where is the individual composer in that process?
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The body and the mind both look like a mountain. More episodes about meditation here: https://www.zenglop.net/zenglop/meditation/