Cinesonic: Cinema and the sound of music by Philip Brophy (ed.)

By Philip Brophy (ed.)

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Lewis and Henrik Bogdan (New York: Palgrave Macmillan, 2014). 26 Moore, Gurdjieff The Anatomy of a Myth, 3. 27 Sophia Wellbeloved, Gurdjieff: The Key Concepts (London: Routledge, 2003), 223. 28 Moore, Gurdjieff The Anatomy of a Myth, 3. 29 Ouspensky, Search, 48–50. M. Petsche, “A Gurdjieff Genealogy: Tracing the Manifold Ways the Gurdjieff Teaching has Travelled,” in International Journal for the Study of New Religions, Vol. 4, No. 1, 2013, 72–75. 31 Jacob Needleman and George Baker, “Gurdjieff Tradition,” in Dictionary of Gnosis and Western Esotericism, Vol.

Is utilised here. 70 A revised translation of the text that was directed by de Salzmann is worth noting here. This was first published by Arkana two years after de Salzmann’s death in 1992 under the instruction of the Gurdjieff Foundation of New York. A second edition of the revised translation was published in 2006. 71 One should be aware that this revised translation differs significantly from Gurdjieff’s own words. 67 68 69 70 71 For example: Wellbeloved, Key Concepts; Michel Waldberg, Gurdjieff: An Approach to His Ideas (London: Arkana, 1989); Kathleen R.

1964 [1950]), 439–441, 777–780. See also Gurdjieff, Herald, 28–31. Although in Tales he defined humans as ‘three-brained beings’, his focus on three centres sometimes extended to seven; the moving, instinctive, sex, intellectual, emotional, higher Gurdjieff, His Music And Teaching 17 argued that the centres are usually in constant disarray, with each struggling to dominate the others. In this condition people react totally mechanically and unoriginally in the world, particularly as each of their centres maintains a small repertoire of habits that repeat endlessly.

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