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Salamone gives it mention in this piece for G-Sit. Just to be clear, 'contemplative humanism' -- self-realization through guidance, reason, contemplation, experimentation, and expression -- is the basis for my approach to art philosophy (for my approach, truths from religious texts are viewed as allegory). Contemplative humanism is my view of how you locate god. I prefer to temper this area by practical purposes (a crucial qualifier for my approach).

Practically, all signs for human behavior basically point to a contemplative module, which could be filled with meditation, prayer, as well as certain kinds of yoga, writing, and visualizations. Rather than getting hung-up with words like god, allah, goddess, etc, let's just turn the corner and move on, since these are just signifieds for potentials in the human consciousness anyway. Each has to be signified, because of each wasn't, then we wouldn't have the foggiest idea of what the word 'god' means.

Thus all things divine (a catch-all term) lie in the bodies, minds, and breath-forces of humans, and no where else. To the extent that the divine (or all other names associated with god) is found in things and objects, this is a function of the dynamic whereupon things and objects are an extension of human consciousness, and thus we sometimes perceive in objects a sense of something powerful, beautiful, sublime, and luminious, which is a signified of an aspect of our own consciousness, extended into physical form, such as an artwork.

Distinctly but relatedly, 'American contemplative' is what I call my music composition style, and that has to do with my influences in American folk music -- western, bluegrass, jazz -- which in my case form kind of music that has some sense of introspection meets vibrant, at least for the people who like my stuff. I aim for sonorous polysemy, and I could describe what I mean by American contemplative much further, but better to just turn the corner and listen to my newest record.