Gaia: PLAY-POD! - WRITE ON THE WALL!!

True Valuables

http://voyager.gaia.com — Tue, 25 Nov 2008 07:50:10 GMT

Recently I posted something from Gwen Gordon (and Sean Esbjorn Hargens) about playing. and evolution. In conversation with director of tunities.com Patricia von Papstein I found this interesting play design which seems to be really something new.

What do you think about?

www.truevaluables.com

"True valuables" is a play design by TUNITIES ^TM

http://www.tunities.com

Its an interesting offering for a variety of players. Just check the:

Slideshow

- the game for creative well-being
A mission worth playing for
Life in modern society is overflowing with things.
However, this abundance does not necessarily provide us with exactly what we are seeking in life, i.e. beauty and meaning.
How can we draw the essence of what surrounds us?

By using the things we have come to own and love in a playful way.
This is the central concept behind the "true valuables" game design.
The community and the rewards are quite different compared to other games. The community members are dedicated, the rewards beyond possession and consumption. Whoever decides to play here combinates the challenges of playing with the joys of living.
Are you the type of person who will venture on this path towards building creative wealth? If so, "true valuables" is certainly your game.
...

A new way of creating relationships
Just imagine: people with vivid and questioning minds unite. You meet other women and men from the most diverse geographical regions of this world.
What do you need to do this?

1. an internet access
2.a love of travel
3. a picture of what you want to bring into the game.

You play "online" and "face to face". You choose your true valuables and test them out in both familiar and totally new surroundings. This is how the "true valuables" play fellow community is formed - a community of noble play minds who know how to use true valuables in all areas of their life.

You are never left alone
Our service allows you to reach higher levels of your skills of play.
For example:
- You experience how to utilize light, sound and movement to
really be able to play with all senses.
- You realize how to think of lasting results and not be caught in
scores and rankings
- You see how you are safe with your play partners and your
personal details.

The game creates additional value.
You don't just think of yourself.

Supporters from all industries make it possible.
Access to playing in Europe, the Americas, China, Russia, India and
Africa- play fellows from around the globe can use the infrastructure of the games` technology and service people

Artists show their interpretations on the topic of "true valuables".
The art objects can be auctioned.

Re: Play: The Movement of Love

http://sanmugan2006.gaia.com — Tue, 18 Nov 2008 09:20:58 GMT

Both, the article and your comments are captivating and true to the fact. I enjoyed it very much. Thanks a lot for presenting these. Carry on forever.

Re: A Collection of PLAYful Quotes

http://voyager.gaia.com — Tue, 11 Nov 2008 18:30:02 GMT

Hi Alex,

a great collection!

Play Its such a powerful dimension of life and evolution.
PLato, Emerson, Watts..et al:

They all are on spot!

The most complex games are drivers of growth par excellence!

Thanks,

Albert

Re: Play: The Movement of Love

http://voyager.gaia.com — Mon, 10 Nov 2008 17:35:35 GMT

For all who want to dig deeper into this rabbit hole in integral terms:

From AQAL Journal Fall 2007, Vol 2, No 7:

Integral Play

AN EXPLORATION OF THE PLAYGROUND AND THE EVOLUTION OF
THE PLAYER
Gwen Gordon and Sean Esbjörn-Hargens

In an effort to understand the transformative potential of adult play, this article defines and maps the
widely varied adult play forms onto the Integral model, thus providing a coherent sense of the
domains and levels of experience they occupy. In part 1, we explore the challenge of defining play so
that our understanding is robust and precise enough to lend itself to an Integral analysis. In part 2,
we organize play's myriad modes within an Integral framework, revealing the dimensions of the
playground. Part 3 offers a developmental model for adult play that provides an understanding of the
unfolding complexity of play in light of he evolution of consciousness. And part 4 shows how play
is not only an epiphenomenon but also an instigator of transformation, offering examples of
transformative adult play and outlining how characteristics intrinsic to play support the evolution of
consciousness.
The universe created our sense of adventurous play as the latest extravagance in a
long history of advancing play. By enhancing it we work with the grain of cosmic
dynamics.
-Brian Swimme, mathematical cosmologist1
Introduction
Let us play a little mind game. Imagine a world without play. All boundaries are rigid, and all
activity is purposeful, lawful, and prescribed. There are no games, no fantasies, no jokes, and
certainly no thought experiments. Can you see the landscape? What else disappears with the
absence of play? Would there even be a world?
Thinking lucidly about the ludic (from the Latin ludens, meaning "play") promises to open our
imaginations and broaden our understanding of the world. But before we even get started, we trip
on a small problem: what exactly do we mean by play? We all think we know what play is. We
certainly know it when we are doing it. But when we try to pin down a definition, things start to
get slippery. After all, we play defined rule-bound games that we plan in advance, but play also
erupts spontaneously and breaks the rules. Play can be lighthearted and exuberant, but also
serious and intense. It is real but not real, safe but risky. It involves strategy, will, and skill, but
can also hedge its bets on fate. Whole civilizations form out of play. Then play rips off the
civilized facades, topples structures, and levels the playing field. Play invents a teacup then turns
it into a hat. It organizes then randomizes, sets the rhythm then skips a beat. Play is irreducible,
infinitely variable, and utterly essential to life. But what is it?
Despite many attempts to explain its nature and function, and the hundreds of definitions
available (there are no fewer than 34 definitions for play listed in the Oxford English
Dictionary), the play concept remains as elusive today as it was 2,500 years ago, when
prerational Dionysian play began to give way to rational Apollonian play.2 Still, much of the
Integral Play Fall 2007, Vol. 2, No. 3 63
confusion and ambiguity around play is less a function of its inherent nature than it is a failure to
map its forms in a way that provides a coherent sense of the domains and levels of experience
they occupy. With an Integral map we have an opportunity to gain an understanding of the depth
and complexity of play that has eluded previous attempts.
We do not claim that the Integral perspective has ultimate legitimacy. Every approach is
inherently limited in light of the infinite complexity and variability-dare we say-the play of
reality itself. We do think, however, that the Integral model currently provides the most
comprehensive and nuanced framework available with which to understand play and its
transformative potential. Our hope is that instead of pressing play into the service of our Integral
worldview we might use this perspective in the service of play, enhancing our appreciation of its
variable, elusive, and paradoxical nature.

Re: Play: The Movement of Love

http://voyager.gaia.com — Mon, 10 Nov 2008 17:14:30 GMT

See also:

www.gwengordonplay.com

Albert

Play: The Movement of Love

http://voyager.gaia.com — Mon, 10 Nov 2008 17:11:56 GMT

I found this nice essay from Gwen Gordon. So True!:

Play: The Movement of Love

An essay by Gwen Gordon

Not long ago, I lived in an apartment that over-looked a preschool playground. At 8:00 a.m., as I ate my granola every morning, the doors to the school yard burst open and preschoolers spilled onto the yard. I sat staring out the second floor window, happily buffered from the full volume of their blood curdling screeches, and watched, mesmerized. Children hurled themselves into the day, bumping, tripping, bouncing, building things, smashing them down, hitting, kicking, laughing, hugging. Everything was there-trial, disappointment, grief, success, connection, creativity, celebration, belonging, not belonging-all in one little playground. I had the distinct feeling I was watching the raw business of the universe, the workings of evolution itself.

An angel hovering above the world must feel the same way, gazing down at this one big rumpus with all its scraped knees and first kisses. Myriad life forms emerging out of the primordial seas, gathering together, creating more life forms, making cities, cities falling apart, people fighting, others writing poems, the aurora borealis, jellyfish, fleas that jump into the nostrils of hummingbirds, 2,000 year old Sequoias.

The qualities that are so exuberantly displayed in childhood play are writ large in the evolutionary process on a cosmological scale. The whole Universe is one big playground, and evolution one great big, gorgeous rumpus.

Watching the play every morning my heart would burst with delight because the cosmos is delightful. Then it occurred to me - I was feeling waves of love watching the children play, not because they are so adorable and I have a biological clock, but because play itself is the movement of love.

Most of us were taught that the Universe is a deadly serious place, run by fixed laws, chance and necessity-like a machine: Our human world a small island of meaning and civility in a vast sea of violence and indifference. The image has no romance, no delight. Is it any wonder that we now live in deadly serious times, full of terror and madness? We have created the world that fits our worldview.

But the view of the Universe as a collection of fixed objects is not fixed. It is shifting to a view of the Universe as, what Thomas Berry calls, a "communion of subjects." Everything in the Universe is intimately relating to everything else. Eros is running the whole show with attractions of every kind pulling for communion, physically, emotionally, and spiritually in every curve of the cosmos. There's no such thing as empty space anymore. Space is as empty as the space between lovers' eyes. It's teeming with desire, electrical charges, and sexy curves in the Universe's wild embrace.

It might seem as if we've come a long way from child's play. What I saw on the playground, though, was immensely erotic and intimate. It was pure, raw and lusty life force impelling those children to grapple with gravity and their own coordination to discover what a human can do and make. By far the most common use of words for play in most languages is in an erotic context. Diane Ackerman tells us that: "the Sanskrit word for copulation is kridaratnam, which translates as ‘the jewel of games.' In German, a spielkind (literally a ‘play child') is a baby born out of wedlock. In English we make a play for, play up to, indulge in love play." We also have foreplay, and Playboy magazine with playmates-of-the-month. If the evolving Universe is a communion of subjects then evolution is love play, the intimately creative adventure of Eros.

Until recently, evolutionary theory was a grim picture-nature, red in tooth and claw where only the fittest survived, new species emerging only through chance and necessity. Now we have a slightly kinder, juicier, and more mischievous picture. Stephen Jay Gould gave us the term "exaptation" to describe how nature improvises by coopting previously evolved functions to do new things. This helps explain flight. Imagine a bug in the tropics. It can't regulate its own body temperature so it has to grow elaborate fans on its back to stay cool. One particularly hot summer afternoon, a bug with a pair of fans the size of which no other bug had ever seen before sits fanning itself dreamily. Suddenly-Whoooooooaaaaa-a flying bug. Improvisation lifts us up and out of our daily habits to see things from a new perspective. Now that's a playful Universe.

Exaptation is pure improvisation. It's like the character in the movie Airplane who, when given a document and asked what he makes of it, answers, "Well, I could make a hat, or a broach, or maybe a little paper airplane." Nature takes what's there and makes stuff up. Before I got a Master's degree I used to put the initials M.S.U. after my name. They stood for "Make Stuff Up." I had no idea that making stuff up was wired right into the human brain. Gould says that the human brain is par excellence the chief exemplar of exaptation. This is because, about 150,000 years ago the hominid brain expanded massively. When it did, it acquired neural circuits that are not closely tied to any specific function but can be used in a variety of ways. It is this neural plasticity that enables the blind person to develop acute hearing and sensitive fingers for reading Braille, and the right-handed pianist to have as much coordination in the left hand. Neural plasticity has enabled a frontal lobe designed for hunting and gathering to be repurposed into Beethoven's Sonata Pathetique, Shakespeare's Sonnets, and the Beatle's Abbey Road. The human is the only species that specializes in being unspecialized.

If the Universe were a collection of fixed objects governed by fixed laws, then it would be wise to stay rigid. But the Universe is a fluid current of living play, so our own improvisational play and flexibility is essential for going with the flow of the cosmos, responding creatively moment to moment to the changing needs, demands, and opportunities we meet. When we play, we enter the creative current of possibilities, the self-organizing force of the whole cosmos, as active participants. Before the human, all animals were specialized for particular niches. We have the flexibility of the cosmos dancing right in our neurons, enabling us to move into any niche and explore the whole world as a playground.

While play is built right into the cosmos, it's generally agreed that playfulness didn't come on the animal scene until about 150-200 million years ago, with mammals and birds in the Jurassic period. As I write this, my dog Luna is shaking her rope toy, insisting I stop what I'm doing this instant and play tug-of-war. Meanwhile, my neighbor has a diabolic African Gray Parrot who repeatedly calls the dog, Patrick, over to her cage yelling, "Patrick!!" then spills the water dish over his head and laughs out loud, "Ar ar ar."

Most animals outgrow the playfulness of their youth, but humans are curious and playful, exploring the world, learning, playing practical jokes, and inventing things throughout our whole lifetimes. That's because in some sense we never really grow up. Compared to other animals, the human rate of development is extremely slow. As a result, childhood qualities extend all the way into old age. This phenomenon is called neoteny. Neoteny causes us to retain qualities like curiosity, sensitivity, imagination, wonder, flexibility, humor, optimism, honesty, and spontaneous expression, and remain in an unending state of development potentially through our whole lives. Humans are developmentally adolescent chimps that have become sexually mature.

Remaining childlike enhances our capacity for communion. Like Cupid, a Greek image for Eros, neoteny is the romantically savvy child who, with an impish, knowing wink, shoots Eros onto the scene. Because of neoteny the human pelvis doesn't rotate like it does with most large primates, enabling humans to make love face to face. Our extended childhood makes us softer, rounder, smoother, and more sensitive. Compared to our primate ancestors, we are much less aggressive, far more cooperative, and capable of depths of emotion and care that are the basis of art and culture.

While we can thank neoteny in general for the finest aspects of civilization, it is the resulting intensity of the mother/child bond that deserves most of the credit. The mother/child bond has to be extraordinarily intense because humans are born extremely premature. As newborns, we are utterly helpless little fetuses. In contrast, picture the newborn colt standing and walking within the first day of being born. We, on the other hand, leave the physical womb before we have even finished gestating. We can't crawl for three to six months and require eight years of protective care to finish our development. We are utterly and completely dependent on our caregiver's constant, nurturing care. Our bond with her is our second womb.

This means that an amazing and mysterious thing has to happen if the baby is to survive. The caretaker has to embody the profoundly nurturing qualities of the mother's womb, the compassion of the womb of the whole Universe, or the baby will die. And this is exactly what happens. Many new mothers never imagined they were capable of so much love, they're drunk with it. This is the compassion of the Universe awakening in the human to serve its ongoing play. The child's adventurous play and the mother's loving care emerge together through the dance of the baby's exquisite intimate dependence.

The Indo-European word plegan, the root for play, means to risk, chance, expose oneself to hazard. Adventurous play is risk. We can risk to the extent that we feel safe and held in love. In turn, what we hold in love can open to the world and play. The cosmos wouldn't be in a dance of evolving play if it weren't held by the caring curvature of spacetime in a tender gravitational embrace. This curve, the mother's embrace, enables the whole play of evolution. Play and care are the order and chaos of a creative cosmos, but through the human the cosmos can play with and care for itself like never before.

So why, if care and play are so essential to our nature, are we violently destroying ourselves and the planet? What went wrong? We have not grown into our destiny as cosmic playmates because we do not feel ouselves held in a loving cosmos. Care and play in balance generate ingenious inventions that add to the life and beauty of the world. Out of balance, they wreak havoc. Care with a lack of play is static, while play with a lack of care is disconnected and cruel. Milan Kundera writes about the laughter of devils and the laughter of angels in The Book of Laughter and Forgetting. He describes the laughter of devils as laughter at the meaninglessness of things, and the laughter of angels as laughter with the meaning of things. The laughter of devils is play without care.

On the playground, I watched the occasional outburst of tears when someone got too rough, bossy, mean, or exclusive. There were others who stayed on the edge of the playground cut off from the play. Play is a sign of health. When a child is overly aggressive or withdrawn from play something is wrong. In the ‘60s, psychiatrist Stuart Brown did extensive research on the personal histories of horribly violent mass murderers and others "on the fringe," and found that all of them had lacked natural, spontaneous, free-spirited play during their childhood. A lack of nurturing care combined with a lack of play is deadly because it goes against the grain of the whole Universe.

As a culture we are like the child sitting on the edge of the playground, unaware of the playmates all around us. Thinking that we're separate from the world, we are cut off from the sense of being held that makes play possible. Our play impulses are lacking the tempering influence of care. The disproportionate amount of money spent on the military and prisons instead of education and social programs is a portrait of a homicidal, play-deprived culture sitting on the edge of the playground. We have yet to come into our true nature and powers as cosmic playmates.

The Buddha described how the noblest qualities have "near enemies," qualities that are often mistaken for the noble ones, but which lack deep care and connection. In the Buddha's teachings, the near enemy of equanimity is disinterest. I propose that the near enemy of play is entertainment and recreation. Competitive sports, video games, luxury cruises, and high stakes gambling on the stock market are not play. Neither is drug use, or shopping sprees. They are attempts to get relief from the gray backdrop of our play-deprived lives through forms of near-play that lack intimacy with the world. That is why near-play quickly becomes compulsive. It can never satisfy our deepest urges for true play as intimate participation in the cosmos. The free-spirited true play that is our birthright has become so dangerously distorted by a play-deprived culture that we confuse it for war.

The philosopher James Carse, in a brilliant little book called Finite and Infinite Games, describes the difference between finite and infinite play. Finite play has rigid limits, rules, winners and losers, and does not include everybody in the game. Infinite play, on the other hand, changes the rules as needed and includes everyone. The whole purpose of infinite play is to keep the play going. Now we can see a little more clearly what has gone awry in our world. Without caring connection, infinite play becomes finite. With high stakes, winners and losers, it takes itself very seriously and when you take things too seriously you end up dropping bombs. The ultimate expression of finite play is war.

But in infinite play, everything-war, death, deadlines, annoying bosses, barbed wire fences, fear and terrorism-can all be brought into the play. This implies that it's possible to get to the source of being that lets you sing and dance no matter what else is going on. When our sense of well-being comes from a deep enough intimacy with the Universe, there's nothing to win or lose. We can risk anything. We can trust that no matter how foolish, confused, or inept we might be, we will not fall out of the web of life. Being held keeps us from holding back from the world and lets us participate play-fully.

Spiritually realized people tend to be the most mischievous, childlike, and playful of all. Infinite play is the natural expression of a liberated consciousness that recognizes itself as the ground of being. This is our own true infinite, unbounded nature that we share with the whole cosmos. We meditate for hours, do prostrations, chant and tie ourselves in pretzels, in order to touch the Absolute, to feel held in the wild embrace of the Divine. We touch the Absolute in order to play in the relative. With the divine mother's spiritual maturity and the divine child's flexibility and enthusiasm, our perceptions of the world are as fluid as the world itself. We can sense reality as the intimate movement of the Divine, the Lilla, illusion, or Divine play. The word for illusion literally means "in play." The ultimate goal of spiritual practice is enlightenment, the lightness of being that comes from recognizing the world as play. It is the liberation from a finite identity in a finite game to the infinite.

So how do you stay light in heavy times? In the Dine Navajo culture, a person with imbalances is given a special blessing ritual to heal them. This involves the whole tribe coming together to hold them in beauty and tell the cosmic creation story for many nights on end. Beauty and the story of the Universe remind us that we are held in the compassionate embrace of the cosmic mother. Our greatest challenge and opportunity in this time is to find our way to feeling profoundly held. Our hearts are aching for it. When we have this, we can include everything we experience into the play. As Rainier Maria Rilke wrote, "Let everything happen to you, beauty and terror, no feeling is final." Whatever you're feeling, if you greet it as a playmate, it will begin to move.

Play is movement. When something has play, it has wiggle room. It isn't rigid or fixed. With play a regular stiff stick becomes a joy stick. There is inherent joy and ecstacy in the movement of play. Ecstasy or ex-stasis, literally means, standing aside, or getting off our spots. You can't play unless you can move, whether physically, emotionally, or spiritually. If you're stuck, then play will help. Wiggle your grief, your pain, your depression. Give it breath, find its edges, exaggerate it, paint it, sing it, put a clown nose on it. Play gets us off of our spots, our tragic stories, our habitual ways of thinking and being, and brings us present with the constant movement of love that is the Universe. There can be pain in the present moment, but in the infinite play, pain is felt fully and then moves into something else, and something else after that.

If we forget to play, we lose our love for life, and loving life is what will save our world, not fearing destruction. We're desperate to be invited into our joy, into our energy source, the belly laugh, the burst of giggles, wild abundance, bright color and zest for life of play. The laughing Buddha is fat to show that even the most massive bulk can lift off the ground-with a big enough laugh. Laughter is the sound of play and a doorway into play. Right now, wherever you are, put this article down and laugh. Not because there's anything funny going on, but because you're free to laugh. It may seem awkward at first, but stretch into it. Get off your spot. You will discover that you can find ecstasy just by moving toward it. Play is the movement of love, and love is what moves the Universe. Never underestimate, especially during a time of crisis, the power of play to move the world. Indeed it's the only thing that ever did.

"And we should consider every day lost on which we have not danced at least once. And we should call every truth false which was not accompanied by at least one laugh."

-Nietzche, Thus Spoke Zarathustra

Re: is this just possibly or impossibly a poem?

http://jenagriffiths.gaia.com — Tue, 14 Oct 2008 21:24:48 GMT

where are you winnie dear
love and hugs and healing grace
and tumbling words and no disgrace
I promise to write not hide my face
the judge's dead, gran's taken his place

where are you winnie?
wher ear eyo uw innie
whe rear ey ou win nie?
w here are you? winn ie

love

Re: is this just possibly or impossibly a poem?

http://jenagriffiths.gaia.com — Tue, 14 Oct 2008 21:01:02 GMT

so dear elisa domuch...
show show
; )
love
j

Re: is this just possibly or impossibly a poem?

http://elisaspot.gaia.com — Sun, 05 Oct 2008 14:03:01 GMT

yay ty for posting!!!

my poems are not so much of the play type
and they simply come of muse
so i do not create them, they make me!!!

is it so hard for all to play
perhaps i am not the only one
just like children
if we sit and wait for another to initiate play
we will be sitting

having said that, for me to play only requires me to lie on the ground close my eyes and watch
not the most condusive to sharing and all!!!

:)
elisa

is this just possibly or impossibly a poem?

http://jenagriffiths.gaia.com — Sun, 05 Oct 2008 13:45:27 GMT

Dryad dryad come and play
something you once started, in a magical way

once on your blog you got carried away
a poem a day! oh yay!! we all started to say
dismay? no dis wa more'na year ago! Ah sway!

Let's do it here. Please?
you give us the form and we try to follow.

eg a sonnet under your bonnet
or whatever

Please post a few poem structures here and some of your examples
let's see what the rest of us can come up with

Re: Let's write a story together...

http://singerseeker.gaia.com — Thu, 31 Jul 2008 10:53:00 GMT

Meanwhile, the said relations were nowhere to be seen, having been blasted out of both the known and unknown universes by the earthshattering burp of the snark.

Re: Let's write a story together...

http://elisaspot.gaia.com — Thu, 31 Jul 2008 00:08:22 GMT

"Brrrrrrrrrrrrrrrrrrrrrrrrrrppppppppppppppppppppppppp!!!" (echo echo, shake shake)

"When is your holiday over relations?" he said, "Oh, and excuse me."

He thought all the while that he hoped that they had not been made aware of the plumbers show in the Civic Arena in town. Home shopping for moving in was sooooooo not what he wanted them to think of. Where could he take them to get them out of town?

Re: Let's write a story together...

http://singerseeker.gaia.com — Wed, 30 Jul 2008 23:56:35 GMT

"Hey, we heard that!" said the tub-dwelling relatives, who somehow had appeared in the middle distance.

"It's summer, don't you know, and we decided to have a little holiday, so we've popped around for drinks. Here, give us some of that!"

This last to the snark, who was joyfully slurping up another decanter of the best wine, and looked quite flabbergasted at being so summarily addressed by tub-dwellers, of all beings.

The snark, opening a gigantic maw as wide as possible, then proceeded to ...

Re: Let's write a story together...

http://elisaspot.gaia.com — Wed, 30 Jul 2008 17:40:29 GMT

"The fresh air is wonderful here!! Very nice open-toed footwear and OHHHHHHH the places we travel and see!!! Not like our relations that still live in the tub and think that is all that exists of the world, never going past the drain."

Re: Let's write a story together...

http://singerseeker.gaia.com — Wed, 30 Jul 2008 16:54:29 GMT

he found his chosen place of residence very cramped and uncomfortable but strangely enough, though he complained vociferously about it to all and sundry, he never made any attempts to move to a more commodious lodging. However, he did have one good thing to say...

Re: Let's write a story together...

http://elisaspot.gaia.com — Wed, 30 Jul 2008 11:27:12 GMT

the flouriaptor that lived between his third and fourth toes on his left foot.

Re: Let's write a story together...

http://MikeyDineen.gaia.com — Wed, 30 Jul 2008 10:01:19 GMT

The snark was hungry and rushed into a convenient eatery down a tree-lined shady lane, and after a quick Greeting in fluent Pollybirdia Singularis, to the pretty Nasticreechia Kropfuppia, who was wearing a revealing, low-cut velvet gown of Sheer gossimerian Silk, he ordered a pair of Ambolgus pies, medium rare, with a large helping of Gosky patties.
And this he washed down with a glassfull of heady dragon-blood wine , poured from a crystal decanter.
And they all lived happily ever after, with just one exception:

Re: Let's write a story together...

http://elisaspot.gaia.com — Wed, 30 Jul 2008 01:09:25 GMT

a striped and spotted SNARK!!!

Re: Let's write a story together...

http://singerseeker.gaia.com — Wed, 30 Jul 2008 00:39:15 GMT

green meadow, bursting with silky long grass bathing in a bright sun, under the bluest sky you ever saw.... They stumbled around in confusion wondering how Moses had managed to bring them to this strange place.

"What have you done?" they howled in terror. "Bring us back!"

"What? Do you think this wand comes with instructions?" Moses growled. "I don't know where we are or how to get back... Ungrateful wretches," he muttered, wandering off alone and disappearing over a hill.

Just then, over that very same hill, appeared...

Re: Let's write a story together...

http://MikeyDineen.gaia.com — Tue, 29 Jul 2008 21:26:52 GMT

At this Moses, know bedecked in a fetching goatee, piped up
" in fact this pleases me very much " and without further ado, nor adont,
he raised his right arm into a harmoniously horizontal position,
and in his hand was a phrightfully phallic, but wondersome, wooden wand.
He pointed this wand at the gray pea-soup fog, and it parted biblically, and all the doctors, paramedics, and wayward onlookers waltzed through the new passage into the most amazing.......