頌缽者療遇初探（1）：頌缽之音與心靈冥視關連之探討

Exploring Healing Encounters（1）（Part I）: Relationships between Sound Space and the Internal Experience of Singing Bowl playing

本研究是透過西藏頌缽者的頌缽經驗之現象描述，探討缽聲所形成的經驗意識的內涵。聲音空間是經常被頌缽者提起的一個描述詞，由於缽聲本身並無調子，聲音的迴盪構成聲音空間。頌缽者在經驗的描述之所以認為是「空間」乃是來自聲音的迴盪有上下、前後、內外等方向，以及在空間的運動速度。此聲音空間的出入涉及頌缽者的進出內在體驗的程度，在不能進入內在經驗並停留裡頭，聲音空間就消失了。因此，本文認為聲音空間其實是身體的內在空間，但並非生理的條件，而是身體的人文生產，此人文的具象成為「心靈冥視」，亦即在意識出來主導之前的「暗冥」感受。本研究就頌缽過程發生的自我解離所描述的「自我的流動」，亦即那被視為堅實的自我變成流動的團塊，我們將此層面歸諸於德勒茲的內在平面的「符碼新生地」，其自我的意義並沒有堅定的挺出，反而只是一團模糊不確定的自我感。此現象與柏格森談到「影像召喚意識」有所吻合。這結果將我們帶領入身體意義的範疇，一種沈入自身的運動。

This study explored a sound realm, arisen by playing Tibetan singing bowls, and assumed to be located at the intersection of bodily sensation and mental imagery by inter-disciplinary efforts from clinical psychology and Schmitz’s New Phenomenology. The sound realm can be regarded as a virtual rather than reality. It must be actualized otherwise material reality, its actualization must be through some particular mediums or situations to induce a temporary state, where mental imagery is not yet well formed, and the meaning not yet realized. In this state our consciousness feels its existence in the dark, no clear mental sense but a creation a flesh realm other than bodily sensations. The realm possesses a new sense very close to what Schmitz describes in his New Phenomenology. The empirical data presented in this study were taken from various Tibetan singing bowl players and patients, using phenomenological terminology to rewrite those self-reports in phenomenological terms. A self-dissociation phenomenon was illustrated and the nature of self-identity was explored.