This blog will not be confined to any particular subject matter–it’s only subject is the whim of the author (Sam Buntz).  It is meant to reflect his consciousness as it ceaselessly mutates.  It is not meant to cater to any particular sub-culture, it is merely meant to be interesting–indeed, engrossing–and will strive towards that end only.  Yet the reader can expect it to return to certain pressing issues regularly–literature, music, art, movies, pop culture as well as philosophy and religion.  Even politics and world issues could creep in, despite the author’s sincere distaste.


6 thoughts on “About

  1. Sam, enjoyed reading your most recent entry and your most recent poem! wish i could say something more profound but do know that Uncle Hugh and I very much enjoyed contemplating your ideas of the divine love triad. I like the idea of becoming one angel with Hugh in heaven someday. Aunt Susie

  2. Hello, Sam

    Heartening to discover your blog. Suspecting we face the same general direction, I would be glad to share with you a copy of my penultimate book “The Artist as Mystic” – at the intersection of literature, philosophy and spirituality – should you care to consider it for review, here?

    Peace, Yahia

    • Thanks for checking out my blog — just a minute ago, I got back to you via Facebook, and said, “Yeah, send the ebook my way!” along with giving you my email address. I’m looking forward to reading it.



  3. Sam,

    If you have a few moments I would like to know if you strongly agree or disagree with the following statement.

    >Why do we listen to music, how do we listen to music, and what is the main source of our satisfaction in listening to music? The answer to those three closely related questions, I believe, is to be found in the phenomenon of following music, that is to say, of attending closely to, and getting involved in, its specific movement, flow, or progression, moment by moment. That is to say, it is not so much a matter of thinking articulately about the music as it passes, or contemplating it in its architectural aspect, as it is a matter of reacting to and interacting with the musical stream, perceptually and somatically, on a non-analytical, pre-reflective level.

    >The important thing is not WHAT is listened to (i.e,, what aspect of the overall structure), but HOW one listens; a) how unity and organization are perceived; b) how one appreciates and imaginatively participates in music; c) how one relates the preceding parts and anticipates the future ones; d) how ready one is to respond to music’s expressive dimension, to be alive to its human content.

    >Here is the plain truth: Every time we attentively listen, we find different properties and qualities of the musical work. Our ear becomes MORE ACUTE AND SOPHISTICATED and we understand the piece to a more complex degree. And we have actual evidence which suggests that listeners without musical training DO have an implicit knowledge of things that musicologists and scholars can talk about explicitly.




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