I did the proofing of the OCR of this excerpt as conscientously as possible.
For example, "affinity alignment" and its alternate spelling
"affinity-alignment" occur exactly as in the original text. Except for two
passages ("trying" p. 6, "stabilizing" p. 34) I didn't correct typographical
errors. The brackets of "dynamics" on page 6 are probably another typo, but
I'm not sure.
To make this citable, I included page numbers between square
brackets.
Other versions (jpegs, html) of the text will follow.
Many thanks to Mr. Braxton for allowing this digitization!
Length of the excerpt: ca. 12 000 words
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Anthony Braxton: Tri-Axium Writings Vol. 1
I. Underlying Philosophical Bases
(Level One) WORLD MUSIC
[1] If we are ever to awaken to the realness of creativity as a life giving
factor, then the seriousness of this subject must be re-examined from every
viewpoint and context. For the most basic understanding of creativity
perpetuated in this time zone seeks to accent the entertainment or spectical
value of a given projection, rather than what that same projection might
mean in its cosmic vibrational sense (as pertaining to either its mystical,
spiritual or positive functional value). In other words, the present reality
of western information dynamics is geared to focus more on the surface of a
given focus, as opposed to 'what is most true' about that focus, and this
phenomenon has come to profoundly distort our perception of everything -
including creativity. The end result of this cultural attitude sheds light
on the times we now live in, for, to many people, the meta-reality of a
given creative projection is a subject not worthy of serious thought. And,
as the progressional expansion of technology continues to reshape every
aspect of our lives, this gradual unconcern about composite information
(and/or philosophical content) that is now taking place in our culture will
pose even greater complexities for generations to come. Every day the
realness of creativity becomes less and less clear - and this is true on
many different levels.
On the physical universe level this phenomenon could be understood by
dealing with the rapidity surrounding the progressional shifting of
information by the controlling forces dictating western culture. Every week
there is a new spectical on display, and all of us are constantly bombarded
with what music to buy, what art is 'in' - what fashions are correct - what
music is the best, etc., etc. In the time zone of a given year many of us
would be shocked to discover how many specticals we have gone through -
either with regards to creativity; or more important, how the controlling
forces of American culture would have us perceive creativity. We are constan
tly forced to keep up with both the changing social jargon [2] related to
how given creative thrusts are perceived as well as the effect of what that
jargon helps create in vibrationaltory terms - with regards to actual
physical universe life. It does not matter whether the spectical involves
'op-art' or the emergence of what is now called 'funky' music, because in
the final analysis the thrust continuum of creativity is constantly
changing, and it would be to our advantage to have some understanding of
what this means.
The realness of the changes taking place in creativity must be viewed from
many different viewpoints because in this subject we are not discussing a
mono-dimensional thrust projection, but rather a multi-dynamic continuance
that touches on every aspect of life on this planet - regardless of culture.
Moreover it would not be correct to simply imply that all of the changes
reshaping creativity in this time zone are based on manipulation from big
business, because while this is true for some areas of creativity, it
certainly does not apply to the composite thrust of world culture. Instead
we are talking of a subject much too complex to generalize, and much too
diverse to lump together. The composite actualness of creativity transcends
any single category. This is a subject related to the realness of life
itself, for the seeds underlying what a given creative projection really is
touches on more areas then many of us might imagine. The scope of creativity
is not limited to either the doing or experiencing of a given creative
thrust, rather the totalness of given thrust sheds light on the culture
itself - both in terms of what that culture is and also in terms of what
that culture could be (with the implications having to do with 'what that
culture was and what is what'). The dynamic realness of creativity is a
subject too important to ignore any longer, for our ability to participate
in the next time cycle is directly related to what knowledge we secure in
this cycle - and nothing is more important than the vibrational and cosmic
forces surrounding the creativity that permeates this planet (for now). Nor
have I meant to imply that only certain creative thrusts are significant, as
opposed to the composite actualness of creativity, because this is not what
I [3] believe. Many of the separations we have made between various strains
of creativity are alien to the real actualness of this subject. In other
words, there is no real separation between what we have come to call dance,
music, sculpture or art in the real sense of what these projections are.
Nor, in the cosmic sense of the word, is there any separation between any of
the various cultural and racial thrust projections that exist on this
planet - having to do with either creativity or any other consideration. All
of these categories have to do with many other factors and it is the purpose
of this book to begin laying basis to deal with the composite actualness of
earth creativity.
To investigate the realness of earth creativity is to recognize the dynamic
realness of culture on this planet. For the implications of this subject
cannot be restricted to any one area - in other words, every cultural thrust
is related to a cross-section of creative thrusts. From AIpine Mountain
music in Switzerland to Salsa music from Cuba, what we see is the spectrum
of how creativity is manifested on this planet, and what we also see is the
ingenuity and imagination of the composite whole of humanity. I am not
writing of a consideration relevant to only one time zone but rather a
subject manifested in every cycle of recorded history. The progressional
thrust of earth creativity parallels progressional continuity of earth
culture, and this is important to remember. So many forms have been
developed and lost that it would be practically impossible to trace every
projection to its original beginning. To understand and view the composite
actualness of earth creativity is to transcend both the consideration of
time, as well as the superficial boundaries that all of us at some point
have erected. For the dynamic continuum of earth creativity is not dependent
on one area of the planet, or one racial or cultural group - but rather,
everyone and every culture group has helped bring us to the junction we are
in at present. Thus to experience the realness of earth creativity is to be
open to the dynamic implications of what this subject means - both in actual
terms as well as cosmic terms. It is important to understand that creativity
represents a vibrational [4] picture of what a given culture thrust means in
cosmic terms. That is, it is no more possible to change a person's (or
culture's) basic creative vibrational thrust, then it is to change one's
fingerprints. In other words, the thrust continuum of creativity can tell us
much about the progressional actualness of earth culture as well as the
vibrational implications of principle thrust alignments. This information is
essential if we are to establish some basis for transformation, for it is my
belief that the challenge of the next cycle is directly related to what we
are able to understand about the composite realness of earth knowledge -
regardless of time zone. The investigation of world creativity is also
related to what this means, for the seeds underlying how given cultures
move - in physical universe or vibrational terms - sheds light on every
aspect of that culture (whether we are referring to either a culture's
vibration or spiritual reality).
It is necessary to examine the total vibrational arena that underlines how
we have come to view creativity if we are to arrive at some basis for
dealing with the uniqueness of this subject. For the creativity happening in
this time zone did not simply come from nowhere but rather is the
progressional extension of what happened before it. To examine the essence
implications of creativity would imply that some effort is put forth to
establish the widest possible context for examination. For to deal with the
realness of this subject would imply some awareness of the progressional
expansion of given vibrational projections, as well as some understanding of
the basis which solidified what those projections are. With a composite
perspective we are able to view the dynamic implications surrounding how
given creative thrusts expand as well as how that expansion has affected the
present realness of earth culture. The information we gain from this
viewpoint can better prepare us to deal with the underlying philosophical
and vibrational factors that dictate the nature and actualness of this
subject. For the philosophical consideration defines both the significance
of what a given projection is, as well as what the inherent potential of
that projection could be if extended. Thus for [5] the purpose of
investigation - everything, in terms of meaning, is relative to its
philosophical or vibrational basis, because this factor functions as
'center'.
For investigational purposes I have found it necessary to dismantle many of
the considerations related to how we have come to view creativity. This is
so because there is a need to re-examine every aspect of this subject in a
new light -both for what it could mean with regards to the present
actualness of culture (what is happening at present) as well as for what
this type of investigation could mean towards further expansion. The
seriousness of creativity demands this type of investigation, if we are to
truly have some awareness of our real position on the planet in this cycle.
For if many of the problems we are dealing with in this time zone directly
relate to the inability of western culture to provide the proper ethical and
spiritual dictates necessary for culture, then the restoration of creativity
can be viewed as the first step towards re-establishing positive change.
Moreover, if the realness of the present time zone exceeds the limitations
of any one given culture, then the actualness of creativity can also give us
some insight into what this state means with regards to both functional
change and vibrational change. Whatever, the dynamics of creativity is a
subject that must be dealt with on some level, for there are many questions
related to this subject that could directly shed light on the progressional
expansion of earth culture as well as those vibrational factors that
underline how physical universe change (i.e.transition and/or
transformation) is actualized. The progressional actualness of a given
creative thrust could give us insight into the question of spirituality as
well as culture - and in its ultimate state this information should reveal
something about the realness of existence (whatever level). The seriousness
of the time period we are living in seems to imply that some of these
questions be examined. And while I do not pretend my awareness is so
advanced that I am qualified to deal with this subject, at the same time - a
collected viewpoint concerning creativity and its related meta-reality
implications must come from a dynamic spectrum of quarters: including both
philosophers, scien- [6] tists and yes, creative people. My attempts to
comment on the composite realness of creativity is offered in the same
spirit of positive investigation that characterizes those who are t[r]ying
to understand anything.
This section of the book is concerned with viewing the meta-reality of world
creativity - both as a means to draw new light on this subject, and also as
a necessary route for re-examining creativity in this time zone. However,
the dynamic realness of this subject must be approached very sensitively,
for the actualness of world creativity does not necessarily correspond to
the thrust alignment of western language - that is, the vibrational
significance of world creativity, in its most basic state, transcends the
parameters of western language as an accurate descriptive tool. Thus if this
section is to be of any value - and related to true information - I am
forced to be as careful in my use of language as possible. Because the
actualness of a given word might mean one thing in the west, but when
applied universally mean something else entirely. In short, there are
reasons why given languages can't comment on certain factors outside of its
natural affinity projection and this must be respected. I have chosen to
write on the underlying philosophical and vibrational realness of world
creativity only as a means to establish basis for observation. Moreover,
because of the nature of this subject, I am forced to also utilize
separation as a tool for showing the distinguishing features of world
creativity - as opposed to lumping this consideration with aesthetics that
aren't compatible. For the multi-complexual implications of this subject
necessitates some level of separation as a means to comment on the
(dynamics) of given culture groups. This is true for unique particulars
subject matter as well as for the structure of this inquiry. By world music
in this section of the book, I am referring to the creativity 'ised' from
all of the world's cultures with the exception of western art music and
creative music from the black aesthetic - which was also 'ised' in America -
(both of these thrusts are discussed separately in the next section of this
book) . It is not the purpose of this book to deal with any particular group
as a means to totally understand what that group [7] is about. That is the
purpose of historians, anthropologists or musicologists - I am interested in
looking at world creativity as a means to draw light on certain inherent
factors regarding the meta and functional realness of the creative process
that has always been apparent to the world group. My reasons for taking this
approach is to establish basis for understanding world creativity and how
given culture groups function from this information.
The limitations of western language as an accurate descriptive tool for
inquiring into world creativity can become apparent by dealing with the
essence foundation underlying how world creativity is perceived. For the
nature of creativity in world terms is perceived quite differently from that
of western culture - especially in this time period. Perhaps the most
distinguishing factor manifested in world creativity is the unification of
all aspects of postulation to the degree that the creative process and the
very reality of the culture group are intertwined. In other words, not only
is the creative process indistinguishable as a separate entity in the world
group's viewpoint, but in many cases the creative process is not even looked
at in terms of being a creative process. In other words, the idea of
creativity is not even dealt with by many culture groups from the world
community. It is difficult then to make systematic references or
relationships on world creativity as a means to establish one criteria for
investigation - because the study of world creativity is not only about
creativity.
In 1968 I had an opportunity to meet a young African flutist whose musical
ability impressed me enormously. The meeting I was to have with this
musician helped me to view the uniqueness of world creativity as a factor
perceived quite differently from western creativity, and as a consideration
that reflected on the dynamic implications of culture in ways very new to
me. The basis of our meeting had to do with me asking the African musician
whether or not he was a professional musician, for I was quite impressed
with his musical ability and would have liked to experience more of his work
in performances if possible. His reply was that he was not a professional
musician and [8] I was quite surprised to hear that this musician was not a
professional (musician) - in the sense of how the word is used in the west -
for I found his musical ability to be on the highest level with regards to
both invention (creativity) and discipline (technique). Moreover I do not
mean to imply that his response to my question required an understanding of
complicated concepts or advanced algebra, because in fact the simplicity of
his viewpoint would really be the factor that accented my interest. For I
was not prepared for this young musician's response (to my question), and
the basis of our conversation would make a deep impression on my total
understanding of creativity. His response was simply that when he was
growing up he always wanted to play the flute - so he played the flute. The
idea of becoming a professional musician had no meaning to him because in
his country not only would there be no one to play for - and make a living
from - as such, but also in his tribe everyone played the flute as well as
he did - if not better. He went on to say that it was only in coming to
Europe where he began to see other considerations concerning creativity - as
a professional spectical factor, and while he grew to understand this
viewpoint it was outside of his basic vibrational and historical alignment
with creativity. For me, this meant in his tribe there was no such thing as
creativity separated from the culture to the degree it became an entity unto
itself. Thus to deal with world creativity is to understand what this
alignment really means. For if creativity as an actualization is not dealt
with by the world group, then what does this imply - and how is it
perceived? To understand these questions is to deal with establishing some
criteria for viewing the realness of this subject. I say this because
whether or not the young African saw himself as potentially being a
professional flutist is not the point. The fact he played the flute is what
I am focusing on.
To deal with the realness of world creativity is to be confronted with the
dynamic scope of how it is manifested. And while the surface particulars of
a given culture group differs - in terms of identity alignment - every
culture utilizes in its own way the total dynamic spectrum of [9]
creativity. In other words the projectional realness of music, dance,
sculpture, theatre, etc. is an integral part of the basic creative arena of
world creativity - but it goes even deeper then that. The fact is, all of
these various projections (i.e., dance, music, etc.) were actualized in the
progressional continuum of world culture and as such are not merely
adaptations or recent developments, but factors conceived from the basic
thrust expansion of world creativity. Moreover, the surface realness
underlying how a given projection is viewed cannot be separated from the
composite meta-reality of its culture group. That being, to deal with world
creativity is not to analyze the surface actualness of a given creative
projection but rather to understand the vibrational and cultural base which
actualized it. The realness of this approach can help us understand both the
uniqueness of a given culture group as well as the concept of 'affinity
alignment'. Our attention must be directed to the essence foundation of
world culture - not necessarily with regards to any particular function or
group - as a means to observe the nature of this concept. For obviously the
progressional development of Scottish bagpipe music is different from that
of Pigmy music - yet the essence foundation of world creativity can be
viewed as reflecting one essential attitude - or affinity alignment (and
this is especially true for non-western cultures - because the underlying
vibrational and philosophical realness of western creativity - and culture -
in many ways represents its own separate affinity balance). The essence
realness of a given projection in world culture terms must finally be viewed
in its composite context. For the particulars of a given focus in this
context share a common vibrational affinity denominator - and this is true
for the whole of world culture - with the one exception being western
culture, and in particular western art music. This difference can especially
be understood if the concept of affinity alignment is viewed as related to
the 'reality of principle information' and/or affinity dynamics in world
terms (i.e., the concept of race in particular) - yet I have not presented
this concept as a means to proclaim any notions of superiority or
inferiority because this is not my belief (nor does this route of
investigation really interest me - not [10] to mention the basic vibrational
categories I am referring to do not necessarily break down into our present
concepts concerning 'race' in any real sense, because this concept is only
one criteria among many others of equal importance).
[Figures 1 & 2]
[11] To examine the essence foundation of world creativity is to be made
aware of the relationship of this subject to how given culture groups
perceive of life. This relationship is the 'stuff' that solidifies the
realness of world creativity as a composite affinity thrust, for I am
writing of an attitude that transcends both regional and tribal
considerations - commenting instead on a particular way of perceiving
things. To understand the affinity alignment of world culture is to observe
the nature of this relationship, for there are many aspects of this question
that can be commented on. The most basic of which is that creativity 'ised'
from the world consideration can be looked at as a ritualization of the
total understanding of its given culture group (with regards to that group's
affinity and vibrational alignment to either spiritual or cosmic matters).
In other words, creativity in this context functions in the position of
re-enforcing the essence foundation of its culture group's meta-reality
position, and this is done by the nature of its relationship to essence -
through ritualism. Moreover, in every case, creativity 'ised' from the
composite affinity alignment of world creativity can be viewed as functional
as opposed to an aspect conceived only for viewing. By functional I mean
'conceived to be about something', affecting both the actualness of
particular situations (in the natural life thrust of a given community) as
well as a factor attached to the vibrational lining - and thus secrets and
science - of its culture as well. Thus I am writing of a consideration which
means nothing in itself but is instead a manifestation (i.e., ritualization
or affirmation) of the basic life force (essence foundation) of its culture
group. The problem for this section then is to find a way to communicate
about this basic life force without talking about 'a given life force' - for
in focusing on world creativity we are touching on a subject much too
complex for any one level of investigation. The realness of viewing totality
as a fact can present many problems for the western analytical position, for
this observation context is outside of the basic affinity alignment of
western functionalism (i.e., science). Yet this is exactly what must happen
if we are to deal with the realness of world creativity. Because any attempt
to [12] isolate a given aspect of world culture will invariably lead to some
type of distortion - because the meta-reality underlying how this
consideration (i.e., creativity) is viewed has nothing to do with separation
as perceived in the annals of western thought. To deal with the actualness
of a given creative projection from the world's community is to have some
awareness of that projection's 'real' purpose.
To examine the particulars underlining the composite realness of world
culture is to take into account the spectrum of earth creativity in all of
its various strains. For when I wrote that there is a difference in how
given culture groups manifest their creativity, we should understand what
this means with regards to an actual creative projection. Because in the
final analysis, a given creative projection from world culture might relate
to many factors not normally associated with creativity in the west - and
this is important. The clearest example of the multi-implicational realness
of creativity could be found viewing the progressional realness of Indian
creativity, where certain sounds imply a multitude of considerations -
having to do with what we call music as well as the total life experience.
In short, where the western interpretation of the Pythagorean junction had
to do with the search for acoustically correct intervals as a means to view
the universe in one-dimensional systematic terms; the Indian mantra on the
other hand dealt not only with the science of a given sound in functional
terms but also with the total meta-reality of that sound - with regards to
both its physical and aesthetic position in Indian culture. Nor is this
total understanding of sound by Indian culture unique in world culture
terms, for this example corresponds directly to the nature of affinity
alignment in world culture. My point is that the meta reality of world
culture must be viewed in dynamic terms, for a given creative manifestation
is not limited to one strata but rather has multi-complexual implications.
This can be better understood by dealing with the consideration of
functionalism, for the composite thrust of world culture - no matter what
culture group - has long insisted that a given aspect has much wider
implications than [13] merely the empirical science which defined how it
worked. To deal with the realness of creativity as a healing factor is but
one example of the multi-complexual position of given creative strains in
world culture. The use of certain creative projections for given parts of
the day (or night) has long characterized the meta-reality of creativity
from the world group - and the realness of what this use implies should not
be taken lightly. To really understand the meta-reality implications of
world creativity is to be aware that creativity is not separated from the
realness of the culture itself. The nature of its affinity alignment can be
viewed with regards to the realness of functionalism as well as aesthetics.
We are thus viewing a relationship that transcends basic categories, for the
progressional continuance of world creativity does not have a real
separation between its creativity and science, or its creativity and
religion - or its creativity and its community. To deal with the
meta-reality of world creativity is then to examine the nature of this
relationship as a means to better understand the multi-complexual
implications of what creativity really is - or can be.
[Figure 3]
[14] [Figures 4 + 5]
[15] [Figure 6]
In actual terms it is possible to view the solidification of dynastic Egypt
as a basic point to begin examining the particulars of world methodology -
and/or meta-reality high purpose. For to view the solidification - of the
Nile Valley Mystery System - that being, the emergence of a composite
information and spiritual system for culture dynamics - is to begin
understanding the reality nature and spiritual purpose of creativity - as
viewed in world culture terms. Creativity in that context was viewed as a
discipline not separate from composite spiritual dynamics - having to do
with what forces it activated and/or participated in, and this information
was dynamically intertwined throughout the whole of Egyptian culture.
Hopefully the next cycle will see attempts to re-understand this phenomenon,
for the African Nile Valley Mystery System information complex (and
spiritual platform) remains one of the more amazing information blockages in
this time cycle. Sooner or later this information must assume its rightful
place in world information dynamics - especially since its tenets and focus
spectrum have provided the foundation for present day western culture
dynamics. It is important that the reality particulars of creativity are
viewed with respect to its greater implications.
[16] One needs only to lightly examine the composite thrust of world culture
and immediately certain relationships are revealed concerning the
multi-dynamic realness of world creativity. Moreover I am not simply
referring to one aspect of creativity, but rather the composite
solidification of this subject - whether we are discussing painting, music,
dance, etc. - for all of these areas functioned as one basic thrust
alignment with regards to culture. In the consideration that we refer to as
astrology, the very realness of a given sound (note) has definite
implications engulfing the totalness of how existence is viewed - even to
the point of how birth and death are viewed. The significance of this one
area of composite aesthetic gives insight and awareness that western culture
has not even begun to deal with. It cannot be lightly dismissed that a
person, depending on his or her birthdate, is born into a vibrational realm
that in the world position is not only understood but also prepared for. To
understand this consideration is to have some idea of the multi-complexual
realness of world creativity as a dynamic factor permeating the whole of its
given culture group. We are thus dealing with a consideration that engulfs
the total spectrum of perceived existence, as well as a consideration that
has maintained both concern and awareness about composite life matters -
even extending to one's entry into this planet. For the realness of what we
call astrology is a multi-dynamic consideration in itself, having to do with
the solidification of information that can be used in a positive way to deal
with the actualness of life on a spectrum of levels. The dynamic realness of
this consideration is most profound - but this is only the beginning. For
however the science realness of astrology was arrived at, it was not the
result of a mono-dimensional probe, but instead the natural result of a
basic affinity thrust that relates to the whole of its given culture. I am
commenting on a vibrational thrust projection that can be viewed as a
synthesis between empirical flows - in terms of perception of events on the
planet and the functional science that grew from that perception - and
aesthetic vibrational flows - having to do with the realness of both
affinity alignment (and the affinity insight principle) as well as
spiritualism. To view the dynamic [17] actualization of astrology and its
utilization from world culture is to have some understanding of the
multicomplexual factors that determine how given projections are conceived
through world culture. Because if the actualness of world culture can be
viewed with regards to the concept of affinity-alignment, then a given
culture's utilization of creativity can better be understood by viewing the
linkage implications underlining its perception nature. This is so because
the creative process is not viewed as a separate factor from the total life
of the culture in world music terms. The linkage implications of a given
actualization in world culture only outlines the dynamic realness of what
that actualization really is - in its total sense - and in doing so, gives
the correct definition to both the creative process and the realness of its
culture. Nor have I meant to over-emphasize the actualness of astrology as a
multi-dynamic example of creative linkage, because this is only one example
among many. The concept of music for meditation - where through sound a
person is able to deal with certain realizations concerning his or her
life - is an integral part of the multi-dynamic implications surrounding how
the meta-reality of world creativity is perceived. This then is another
example of what we are dealing with in trying to understand the underlying
vibrational and philosophical realness of world creativity.
One of the most basic factors that serves to distort the actualness of this
subject is present day misinformation and prejudice. It is important to
understand that the composite realness of world creativity is viewed as
primitive by western culture (primitive in the sense that when measured
against the western philosophical and creative position, world creativity is
somehow lacking or even retarded). We have been led to believe that when
compared to the music of Iannis Xenakis for example - who purportedly has
evolved structural techniques with architecture - Pigmy music is less
advanced. Any attempt to deal with the realness of world creativity would
necessitate that some effort is made to deal with this attitude. For if the
dynamic realness of this subject can be checked in practically every library
in the country then it must be [18] assumed that the disregard for world
creativity by western culture is based on something other than the actual
music.
Without doubt, the strongest factor that has served to distort the subject
of world creativity is the realness of cultural racism as well as
misdocumentation. The disregard of world creativity can be directly linked
to how Europeans have come to see themselves and what this viewpoint has
necessitated in terms of functional position. The many notions concerning
white superiority in this time zone are directly connected to how the
expansion of western culture has come to be viewed by white people - that
being: the rise of western civilization and the progressional decline of
non-western civilization (as a controlling force) can be viewed as
sufficient basis to proclaim an inherent superiority of the white race. Thus
whether applied to creativity or anything else, western culture has come to
view outside initiations in a somewhat distorted manner (and yet to write
this without also commenting that the natural affinity make-up of every
culture and racial group can be viewed in this same manner would be grossly
unfair). The fact is, every cultural and racial group seems to have problems
experiencing outside initiations. My reasons for focusing on western culture
in this section has only to do with the dynamics of this time period - which
is to say, no matter how prejudiced given culture groups are, or can be,
only western culture is in the economic and political position to influence
how the composite progressional continuance of information is to be
perceived and transmitted - that is, on any real influential level, for even
the realness of creativity is affected by the political realities of a given
time zone. It is this semantical and vibrational subjugating of world
creativity that is actually transmitted when most people speak of what they
have come to call 'primitive' music. However, we are slowly coming to a
period where the realness of this subject must again be dealt with; for now,
more than ever, there is a need for having a sound understanding of world
creativity. This is because the actualness of the next cycle will
necessitate that creativity play an important role - either with regards to
particulars or real transformation. Before this can happen [19] there are
many factors that must be re-clarified, because the natural thrust
progression of western culture has been detrimental to the realness of
creativity - outside of its ability to function with regards to economics
and spectical. The study of world creativity can only help put the the
totalness of this subject in better focus - which is to say, a more
realistic and accurate appraisal of world creativity could help everyone
view the creative process in its purest sense (what it really is - or could
be).
The study of world creativity is a necessary factor that must be dealt with
because of a multitude of reasons. For I believe there are basic vibrational
laws that dictate how creativity is to function in any culture - and the
basic underlying 'stuff' of these laws has nothing to do with the dynamic
particulars concerning how a given form functions in itself (i.e., whether a
form is more or less when compared to other forms). The distortions
surrounding how world creativity is understood in this time zone are
directly related to the flaws which permeate western culture - in its
progressional and functional sense. I do not mean to imply there is a
conscious attempt to manipulate how world creativity is understood from any
given wing of western culture, nor have I meant to imply that there is a
concerted conspiracy in the west to undermine world creativity because this
is not what I believe. Rather, the vibrational lack of respect of world
creativity that exists in present day western culture is related to what I
call the collected forces of western culture - that is, the compilation of
many different factors taking place in western culture seeks to promote a
special type of affinity alignment (and this alignment is not conducive to
experiencing world creativity among other things). Certainly I have not
meant to imply that any particular form of creativity is better than any
other form - because this has nothing to do with anything - my point instead
is this: if there are universal laws having to do with what creativity is
actually about, then any attempt to negate those laws would risk
establishing important flaws in the actual aesthetic lining of that given
culture group. It is not a question of one culture being more advanced than
another culture as much as [20] what is the end result of this deviation if
any. The study of world creativity can supply the proper basis to deal with
the realness of what is happening in this time zone. By examining the thrust
continuum of this subject, it is possible that we might better understand
what creativity really is, for the realness of world creativity transcends
any one time period. This subject corresponds to the progressional continuum
of our total beingness on earth (yet I do not mean to imply that creativity
is about earth). The study of world creativity can shed light on the whole
of creativity both with regards to the past, present, and future.
If cultural racism is the motivating factor that has provided impetus for
the distortions surrounding how world creativity is presently perceived,
then the effect of this phenomenon cannot be separated from the
reinterpretations which have historically underlined what this subject
really means. For many contributions from world culture have simply not been
acknowledged or recognized - even though the science that supports western
culture would not be possible without these contributions - and in most
cases the composite actualness of this phenomenon is distorted only as a
means to apply gradualism. Nor have I meant to imply that only certain
aspects of world creativity are distorted, because this is not necessarily
true. In actual fact, the misdocumentation that surrounds how world
creativity is understood in this time period extends from both given
particulars to the essence realness underlying the meta and vibrational
foundation of this subject (and without a proper understanding of the
essence foundation of world culture, it is impossible to deal with the
realness of its creativity) . The extent of this misdocumentation cannot be
separated from any real attempt to deal with world creativity - for the
distortions that surround this subject permeate every level of available
information in this period. Given this situation, it remains for our
generation to initiate the reconstruction of both the history of world
creativity and what the true nature of the vibrational and philosophical
(and functional) implications of this subject really imply. Only by having a
clear (and correct) idea of world [21] creativity will we have basis for
establishing what role creativity today can have for future generations.
[Figure 7]
The study of world creativity must be approached both in its composite
realness AND individual brilliance, because all of this information is
essential if we are to have some real basis for perceiving the dynamic scope
of this subject. With regards to investigation it is necessary to examine
the actualness of this subject in both composite and separate terms. For the
composite realness of world creativity can help us better see the dynamics
of this subject in broad universal terms (while separate investigation of
given focuses can give us some idea of the particulars related to how these
universal considerations were actualized on the physical universe level).
For example, the realness of African creativity has much to offer this
period in time if it can be reassessed with regards to what is happening
with the music, rather then the people analyzing the music. A more accurate
understanding of African creativity could give profound insight about the
realness of composite creative music today in America, regardless of level,
because of position of black creativity in western culture. This is so
because the vibrational realness of black creativity [22] has not really
changed in terms of affinity-alignment and/ or affinity dynamics. Any real
attempt to understand the significance of American creativity would imply
that the affinity-alignment implications of black creativity be dealt with
on many different levels.
It is also clear that the study of world creativity cannot be undertaken in
conventional terms, for the 'particular reality' surrounding the state of
various culture groups vary depending on what time zone is being examined
(and it must be remembered that the time perimeter encasing this subject can
be traced back thousands of years before the Christian era). Moreover, in
the case of African creativity there are many other variables that must be
dealt with as well, for the thrust continuum of African creativity cannot be
separated from how the systematic destruction of black culture was achieved
and maintained. For the time zone which saw the decline of black
civilization was also the same period that saw the functional and
meta-reality of African creativity subjected to 'vibrationaltransfer'
(another way of saying this is 'stolen'). Given the present situation in
Africa it will be extremely difficult to piece together the historical
references related to how this dissolution was brought about in a complete
sense - for in dealing with Africa, we are talking of a continent that has
experienced a succession of wars on a time scale that boggles the mind.
Historians - who are only too aware of the progression surrounding the
decline of black civilization - have been able to use the succession of
transitions in Africa as a means to redefine what actually happened (i.e.,
in the use of racially motivated speculation without basis). The end result
of this situation is that the historical community would have us believe
black Africa has never developed advanced cultures (or creativity) - and
this position, while interesting, has nothing to do with the truth.
It is not the purpose of this book to detail the factors that dictated the
historical progressions surrounding African civilization, because this is a
task for more qualified writers (i.e., Chancellor Williams or writers like
Yosef Ben Jochannon). But as the real truth about [23] this subject slowly
emerges, it will be possible to gain some idea of the essence foundation
that dictated how African creativity was to be understood and utilized. This
information will better enable us to deal with the actualness of world
creativity - regardless of culture. Because whatever we learn about the
essence realness of African creativity should also shed light on the
resultant physical universe state that world creativity is now in. For while
the systematic distortion of African culture pertains to only one community
of world culture, it would be a great mistake to assume that only Africa
will suffer in the long run from distorted interpretations. The realness of
world creativity is directly related to our ability to gain true information
with regards to all of the various culture groups that make it up. For the
basis of the distortions surrounding the realness of African creativity
cannot be separated from the thrust expansion of composite world
creativity - and this is important, because the reality of cultural
documentation effects the composite implications of world creativity. In
other words, western historians would have us believe that the many
different tribal groups in Africa today can be viewed as proof that (1)
there was never a unified African aesthetic (center) and as such, there was
never an 'advanced' African culture, (2) the creativity 'ised' from these
various tribal communities has never changed (and as such doesn't expand),
and (3) the essence foundation underlying how given tribal groups see their
activity has no relation to any kind of principal African viewpoint (or no
value in the search for a unified aesthetic). The seriousness of these
charges cannot be lightly dismissed for the net effect of this viewpoint
seeks to undermine the progressional spread (and expansion) of world
culture. Only in this time period have specialists begun to objectively
examine the realness of African civilization (and for the most part this is
because of the work of black historians who are dealing with the challenge
of this most important area) .
Rather than pointing out surface differences in world creativity as a means
for dis-unification, historians and musicologists could better serve
humanity by using these [24] differences to trace back to the underlying
source that 'ised' the world aesthetic in its pure sense. For with the
destruction of the historical records, and the natural limitations of oral
history, it is possible honest research in world creativity could prove most
valuable in helping to recover information on particular culture groups
(this would not only pertain to the progressional-continuance of African
creativity, but to every projection that has experienced blockage regardless
of level). Whatever, the work being done in Africa and India towards tracing
the historical and progressional development of given culture groups,
represents a new field of research - in many cases the solidification of
this kind of research has been developing for the last fifty years and
some - and there will be much relevant information for us to deal with in
the coming cycles. We are now in a time period where there is a need for
true information about world culture - regardless of racial or vibrational
category. For example, only recently have we been able to learn about the
realness of early Chinese creativity - or Dogon culture. Slowly, but surely,
it is becoming increasingly clear that all notions of cultural superiority
or national superiority must be re-examined, for the composite realness of
world creativity has no room for prejudice. In this period, the notion of
western creativity being superior to other cultures is finally shown to be
only a cultural tool for suppression, and this must be understood, for not
only is creativity not about being superior in that sense, but every
culture is a superior example of its own natural thrust alignment. There are
really no examples of developments in creativity, with the possible
exception of the emergence of electronic music, that cannot be traced back
to the composite dynamics of world culture. Everyone has had a hand in
making earth creativity what it is in this period because the multitude of
forms utilized on this planet are all interrelated. Whatever, the realness
of world creativity is included in this book because of several reasons -
(1) to better establish groundwork for the expansion of this series of
books, (2) to rectify one of the most suppressed areas of our present day
information scan - with regard to supplying motivation to help establish a
total musical environment based on [25] respect for all of the creativity on
this planet, (3) to use what we are able to understand about world
creativity as a factor to assist in decoding what options are available to
the creative person today, (4) and finally to establish the realness that
world creativity is related to the next transformation cycle.
[Figure 8]
[26]
[Figure 9]
To examine the realness of world creativity in positive terms is to approach
this subject in a universal context. What is the point of examining the
meta-reality of world creativity unless that examination relates to the
total scheme of what creativity is about in both cosmic and functional
terms? In itself this type of research means very little unless we are
enlightened to move towards a universal love of all various forms of
creativity. This is what I am interested in. For too long the study of world
creativity has been used as a political or ethnic tool at the expense of the
actual creativity. The end result of this mis-use of eth[n]o-musicology (and
history) has helped to make this period in time very interesting - for what
we do not know, rather than what we know. The composite realness of world
creativity has nothing to do with the attitude many people have brought to
this subject, and as such we are all losing. For if the significance and
realness of a given culture group is distorted, what is the end effect of
that distortion? It must be understood that not only are we the effects of
what we do not know, but our ignorance about multi-information also will
determine how we flow (involving what options we will have in the future).
In short, we are slowly coming to the junction where we cannot afford the
luxury of not dealing with what we could know. For a better understanding of
[27] earth creativity can help us on many different levels. There is no
aesthetic or vibrational flow happening on this planet that we can afford to
not know about. Because if a given projection is indeed related to a
multitude of factors it would be to our advantage to understand what this
means - both with regards to the multitude of information that corresponds
to what each projection really signifies, as well as what information means
with regards to the spiritual factor related to how it is approached. As we
move towards the next transformation, we cannot afford to disregard the
realness of world culture.
[Figure 10]
There are many reasons for writing about the underlying philosophical
questions that determine how creativity is to be perceived. For the
meta-reality of a given projection transcends any one aspect of creativity
and, in fact, permeates the realness of existence. Moreover, the science of
a given aesthetic is directly related to the meta-reality base of its
aesthetic. Thus any attempt to deal with the functional actualness of a
given projection would also reveal some aspect of what world creativity
really is. In other words, the underlying philosophical arena of a given
thrust alignment determines the aesthetic and functional realness of its
given projections. It is important to understand what this means, for at
present [28] there is much misinformation surrounding how many avenues of
world creativity are perceived. For example, the inability of the western
methodological and vibrational alignment to properly deal with the
meta-realness of world creativity can be clearly viewed in the many analysis
which have been made on African music that are completely outside of the
'base-aesthetic' consideration of African culture. For example, the reducing
of African music to scales without a clear understanding of what that scale
means on a vibrational-spiritual level; or the research practiced on African
rhythm which ignored that rhythms place on the vibrational-ritual level of
African culture (where a given rhythm gets its significance) but instead
focused only on how that rhythm works in one-dimensional terms in the music.
All of these factors might be of interest of western analysis, but this type
of activity should not be confused with African music. Not to mention that
because of the limitations of language it is probably impossible to write on
what a given element really means in the actual sense of what is happening
in a given creative functionalism - as it happens in that moment. For all of
these meanings are connected to factors that are much more profound than a
physical universe sound (or appearance) being executed in a given time zone.
[Figure 11]
[29] My point is this: the progressional actualness of a given creative
manifestation transends the particulars of any one empirical criteria and as
such the whole subject of musicology has to be dealt with very delicately.
For while I do not mean to negate an entire area of research - certainly
many important factors have emerged in musicology - it is essential to
maintain an overview about the spectrum of extended creativity. For the base
of any real inquiry into a given thrust alignment must respect the affinity
alignment of that thrust if it is to be meaningful. With few exceptions
(i.e., Allen Lomax) this is never done - especially if the form under
scrutiny is of or related to black culture. Moreover, I am not saying that
empirical investigation in itself is not useful - because this would not be
a true statement either. Instead, I have focused on the spirit factor
underlining how western culture deals with the study of world creativity, as
a means to say that we know very little about this subject. We know very
little about the realness of world creativity because the criterion that
substantiates how western culture perceives phenomenon is not universal.
It is understood that the concepts and tools of a given culture group are
perceived in accordance with how that group sees itself. If this is true,
then not only should certain allowances be made when a given culture group
attempts understanding another culture group, but the vibrational
implications of 'affinitytransfer' must also be dealt with. This is
especially true if we are to understand the realness of world creativity.
For the factors which underline how the composite thrust of western culture
sees itself is directly in accordance to its own alignment - with regards to
what it views as rational. Yet this same alignment, when formented into
functional and intellectual concepts, can serve as a factor for
misinformation when applied to certain sectors of the world's community -
especially again, African music. This is so because the western affinity to
what it would call 'logical' can become a strait jacket for comprehending
world creativity (or culture). Thus, it comes as no surprise that many
western historians have little or no respect for many areas of world
creativity. Concepts like 'advanced' [30] or 'retarded' have nothing to do
with world culture's basic vibrational thrust alignment (or at least these
concepts are viewed in completely different terms from western
observation) - yet it would be wrong to assume that the progressional
realness of world creativity has no standards. Understanding world
creativity involves dealing with projections whose ultimate actualness has
nothing to do with many of our notions concerning either creativity or life.
And as such these areas of information must be approached very sensitively.
To view the initiations of a given culture from world creativity is to deal
with many factors, for the realness of a given projection is related to the
time junction it is in (as well as the time junction it is perceived from).
All of these factors are related to the position of a given culture in its
own cycle (with regards to the aspect being examined) - and where that
culture is at, in present time terms. In other words, a culture like India
cannot be viewed in the same context as Africa - because the major
differences would have to do with the destruction of practically all of the
historical records related to the essence expansion of black creativity (in
its most high state - the solidification of its empire-culture), while
India - even in its decline from its former position - does have its
historical records. Thus, it is possible to study the vibrational and
conceptional identity of Indian culture - and how it relates to the
creativity - and gain some understanding of the meta-realness of Indian
culture (on the surface). Yet if the essence alignment of world creativity
is based on the synthesis of concept and spiritualism, it would also imply
that any attempt to understand the reality of a given projection would
necessitate that same synthesis. Certainly this fact in itself is not
profound, but what it implies is rarely dealt with. For while there has
always been a need in every culture to examine and seek new realities - and
of course this is as it should be (what else can I say?) - the realness of
how outside initiations are viewed is rarely put in proper perspective. My
point is that it is one thing to learn something - but quite another to
realize that while you are learning, it has nothing to do with what is
actually [31] happening (or at least the relationship between what you learn
and 'what is' is wide enough so that one should not confuse the two).
[Figure 12]
On the physical universe level, the actuality of a given performance of
music and dance reveals the extent of how different the basic aesthetic of
world creativity is from western culture. For while it is clear that the
dynamics of world creativity function from another sensibility with regard
to its meta and vibrational presence, nowhere can the realness of what this
means be better understood/ experienced than by focusing on the actualness
of a given performance in ceremony. Nowhere can the source presence that
determines the meta-reality actualness of a given thrust projection be
better viewed than by experiencing how music and dance function in actual
context. In every way, a given performance underlines the realness of
vibrational interaction (the particulars of which depend on the alignment
nature of the culture itself) and in its natural state this phenomenon also
reveals the realness of its own discipline - with regards to the particulars
of the actual moment (through improvisation). Yet just as it is impossible
to separate the music from a given projection in world creativity (as a
means to understand what it really is) it is also impossible to view any
component of world creativity in that manner.
Edited by Lazaro Vega, 30 January 2007 - 08:35 PM.
