Tri-Axium Writings excerpt - Vol. 1: World Music

42 posts in this topic

Posted (edited)

From Franz Fuchs via Anthony_BRAXTON@yahoogroups.com:

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

---

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

Share this post


Link to post
Share on other sites

Posted

[32] For all of the different creative areas in world creativity must be

viewed in terms of the composite hierarchy (culture) that determines what

role a given individual can function in - with regards to the composite

actualness of a given manifestation (or ceremony). It is not a question of

musicians performing while the majority of people - after paying their

tickets - experience the performance. The meta-realness of world creativity

functions as an integral part of how life itself is understood/felt. In

other words the vibrational alignment that determines the nature of how

given culture groups relate to the 'is', also dictates the natural affinity

reality that gives meaning as to how the total hierarchy of creative

dynamics is to be utilized in a given ceremony. With this in mind, a given

ceremonial occasion would have musicians functioning in accordance to the

vibrational and physical universe principles which defined the nature of the

occasion - the dancers would also function in relationship to these same

coordinates, as well as the 'moment-actualness' of the music being created -

the scripters would have already created masks or other ornaments relevant

to the occasion, in accordance to the ritual that underlines the ceremony,

etc., etc. (In other words, a multitude of factors are at work in a given

creative manifestation in world creativity.) Moreover, the composite lining

of world creativity is manifested from a principle unification factor,

embracing both ritual and symbolic meaning. The end result of creativity

from this type of alignment can be viewed on many different levels. For the

projectional thrust of world creativity moves towards the unification of

culture, and the actualness of ceremony, as designed through the annals of

world culture, moves towards 'maintaining the community'. The nature of this

interrelationship is outside of anything present day western culture has

been able to come up with. Only by examining the essence realness of world

creativity can western culture establish basis for perceiving what is really

happening with this subject.

Thus it is when the totalness of a given creative thrust is experienced that

we are better able to have basis for attempting to understand world culture.

For the realness of creativity from the world group encompasses [33] more

factors than what we have come to realize. There are many other

considerations in world creativity that must also be dealt with if we are to

have even an elementary grasp of given creative flows. For while the

realness of any particular creative manifestation in world music utilizes

many different levels - either in terms of essence factor or what a given

physical universe event is at any given moment - it should be remembered

that the very arena which defined the events of a particular creative

manifestation are also directly related to the meta-reality of the culture

itself. In other words, the form of a particular creativity actuality is

also part of the ritual of that creativity. But where this idea can be seen

utilized later in contemporary German functional composition concepts (the

technique of Klangfarben's melody can be looked at in relationship to this

most basic African idea) the major differences in the use of this technique

relates to the spiritual-essence factor in world creativity. The nature then

of African creativity in its normal flow dictates a more profound

understanding of the concept of form.

If improvisation is the most universal element to be found in world culture,

it would also be to our advantage if this consideration were refocused on

and better understood. I say this because, in this time zone, there seems to

be some disagreement as to (1) the underlying essence-factor which

determines how we have come to view improvisation, (2) and the functional

nature underlying how improvisation has to be utilized before it is valid.

There are many factors in African music that must be understood if we are to

have a more realistic view of what is implied in the concept of

'composite-aesthetic' creativity. The most basic of these factors would be

the understanding of form and the underlying tools which have always been

properties in a given creative actualization in world music. I have already

stated that a given manifestation of African music utilizes a composite

identity on a level I believe to be the most sophisticated that is

documented in this period. But it is also necessary to reiterate that all of

this activity (in a given creative manifestation) - that being, the use of

particular elements (i.e., mask - [34] headdress) and the use of certain

rhythms for certain occasions - can be looked at in relation to the form of

the creativity (I do not mean, however, to imply that this is the only use

of form). If this is true then what we have is an extended understanding of

form - and this is only the first level.

My reasons for attempting to understand what constitutes form in African

music (world music) is to hopefully gain a better understanding of what is

really happening in in world creativity. For, if my previous observations

are meaningful on any level, there is another level of world creativity that

is of even more importance. That level would be the significance of the

concept of form in the world music aesthetic.

I have already stated that the basic underlying vibrational thrust in world

music can be viewed as activity which moves towards ritual. But what does

this mean? Well, it is my opinion that the consideration of form as ritual

completes the total meta-reality cycle that dictates how a person

participates in a composite creative manifestation (as far as what that

participation really means). Form viewed as ritual can be understood not

only as functional unification in the creative act but also in regards to

what it means for the society. Ritual then is the alignment which serves to

keep the participating individuals in accord with the meta-reality of the

culture as well as a factor that substantiates the essence factor of the

culture itself. Form as ritual is also the most important factor in the

stablizing of a given culture's relationship to its spiritual essence

foundation. With this understood, the implications of a

'composite-aesthetic' reality can become clear; and if my understanding is

correct., the functionalism which dictates how world creativity is perceived

(from the people - or culture groups themselves) can be looked at as an

example of the highest form of creative alignment. For the totalness of a

vibrational approach - encompassing the elements used in a particular

manifestation - is also the form. Thus, a given creative manifestation in

world music is a profound example of a living, breathing culture, rather

[35] than a factor that can be separated and studied by itself. The end

result of this phenomenon is that world creativity sustains the agreed

reality of its culture's lining in extended spiritual terms.

It is necessary to search even further into the functional reality of world

music if we are to understand the vibrational position of each participant

in the actual creative process. For the factors that determine the composite

reality of a given form in the world group is also manifested in the

individual reality of the participating musicians, dancers, etc., in that

same form. In other words, while all of the factors which determine a given

reality of form are operative throughout the total gamut of creativity in

world culture - the nature of what this phenomenon means embraces other

factors as well (that being, with regards to the participating individual -

while he or she is functioning in the creative act). It would be to our

advantage if these factors are examined on as many levels as possible.

The consideration that most interests me is the reality of the creative

person with respect to how a given form is executed. In other words, I have

already written that any given form dictates the nature of what elements it

is to utilize - as well as how that utilization is to take place. But since

the functional realness of form in in world culture is not constructed on

any one-dimensional empirical system, we are forced to examine what this

utilization means. This is so because there is another factor that must be

looked at - a factor whose importance carried multi-complexual implications

with regards to the question of form in world creativity. In other words, to

deal with the realness of form in world creativity would also imply some

understanding of the consideration we call 'improvisation'. We are thus

forced to examine what this consideration really means, for the actualness

of improvisation permeates every level of world creativity and how it is

manifested - regardless of form or time period. The realness of

improvisation is the single most apparent factor that separates how world

creativity is perceived, as compared to western art music (at least in

physical universe [36] terms). Thus an examination of improvisation could

help establish some criterior for the whole of the book (affecting how

creativity is perceived on every level regardless of culture or category).

Moreover, an investigation of this subject can also help establish the

nature of how functionalism is perceived in world creativity - either with

regards to the actualness of a given functional alignment, or the

meta-implications underlying what that alignment means - in both actual or

conceptual terms (even applying to documentation).

Improvisation - as it is 'ised' in the world group aesthetic - has to do

with the ability to function in a given context in accordance to each

individuals own vibrational flow. In the functional context of African

creativity where the form is ritual - each individual while utilizing the

language content of the occasion, is in the position of interpreting the

nature of what that given reality means subjectively, objectively (or

bi-jectively). The totalness of this relationship can be viewed as

individuals creating in 'actual time' from a composite essence alignment

that also affirms the meta-reality of the culture in the 'doing' (creating).

The realness of this condition thus affects the individual, communal and

spiritual well-being of the culture. This then is the actual 'isness' of

improvisation as conceived and offered to us from the progressional

continuance of world culture - as opposed to present day concepts which view

this subject as an end in itself (or as a factor that promotes a kind of

freedom alien to its base aesthetic). It is important that this factor is

understood if we are to view the realness of world creativity as a potential

transformational tool. This is so because there are now attempts in this

time zone from certain circles in western culture (i.e., the Post-Cage

School or the emerging improvisational movements) to declare that

improvisation is a form that can function only in certain contexts (and any

other use of this consideration constitutes another functional approach) -

but this is not true. The actualness of improvisation, as it has been

defined through the progressional continuance of world culture, transcends

any one approach or application. I am writing of a discipline that really

[37] shows the proper relationship between given functional approaches and

aesthetic agreements, as well as a consideration that reveals the functional

dynamics related to its own utilization.

Moreover, I am not focusing on the consideration of improvisation and its

relationship to functionalism in world creativity as a means to declare

innovation. Rather, the use of improvisation can be traced to culture groups

thousands of years before the Christian era. It would be more realistic to

view the use of improvisation in world creativity as the culmination of what

has been learned/experienced throughout the progressional actualness of life

on this planet (and beyond - relating to the realness of the 'is' - or

original knowledge, etc.) rather than the product of isolated innovation -

as the word is now used in this time zone. This information is important to

understand, because the realness of improvisation promises to be the next

sourcetransfer factor in the western documentation cycle. It should also be

noted that the utilization of improvisation in world creativity was

dynamic - extending throughout the total spectrum of creativity. There are

as many different forms of improvisations as there are cultures (not to

mention that every culture necessarily found many other ways to deal with

this consideration in their own way of being creative). Add to this the

natural realignment of functional process that takes place in the course of

time and one might have some understanding of the dynamic realness of

improvisation and how it has been utilized in the composite thrust continuum

of world culture. Any attempt to negate this most obvious fact is ridiculous

for the progressional use of improvisation is documented for all to see (yet

we will probably have to deal with this very subject in the next time

cycle).

I believe the study of world culture is very important especially in this

time zone. We, as earth people, are in the position where great tasks await

us in practically every area. The importance of the historical progressions

leading to this time zone can shed light on how we can develop in the

future. This section of my book is [38] primarily concerned with

re-establishing the underlying principles which define the personification

of the world group aesthetic - nothing more. The real research has yet to be

completed, for without doubt, there is much more for us to learn about world

creativity.

---

Credits:

Timo Hoyer: TAW xeroxes

Andreas Egger: Scanning and OCR

FF: Proofing of OCR

Share this post


Link to post
Share on other sites

Posted

Yup.

Share this post


Link to post
Share on other sites

Posted

I've been trying to get a copy of the writings for a while...

Share this post


Link to post
Share on other sites

Posted

Lou Donaldson has some interesting things to say on the very same subject.

Bertrand.

Share this post


Link to post
Share on other sites

Posted

Lou Donaldson has some interesting things to say on the very same subject.

:lol:

I would love to eavesdrop on a conversation between Braxton and Ornette Coleman.

Share this post


Link to post
Share on other sites

Posted

I've been trying to get a copy of the writings for a while...

Have you tried here?

Share this post


Link to post
Share on other sites

Posted

I read portions of the writings for some research while in college.

I was confused by his use of the word "vibrational" in a number of different contexts. I even emailed him at his address at Wesleyan. Should have asked him in person when we met at a concert some time ago. He used the word a whole bunch, IIRC.

Share this post


Link to post
Share on other sites

Posted

I remember seeing a Braxton concert with Holland, Lewis and Altschul in Schenectady back in the day. It was a college crowd, and after the concert Braxton came out to do a question-and-answer session. He talked just like the excerpts above, really fast, and totally excited. He illustrated his remarks by singing some of his compositions of the period. People's jaws were dropping in bemusement and awe.

Share this post


Link to post
Share on other sites

Posted

I read portions of the writings for some research while in college.

I was confused by his use of the word "vibrational" in a number of different contexts. I even emailed him at his address at Wesleyan. Should have asked him in person when we met at a concert some time ago. He used the word a whole bunch, IIRC.

Did he reply to your email? I was told (by a very reliable source) that he doesn't know how to access his email account. :g

Share this post


Link to post
Share on other sites

Posted

I was told (by a very reliable source) that he doesn't know how to access his email account.

Was your source Ahmad Chalabi?

(i.e., that claim is false)

Share this post


Link to post
Share on other sites

Posted

I've been trying to get a copy of the writings for a while...

Have you tried here?

Thanks (now for the cash...)

As far as online Braxtonia is concerned, I've been told that one can contact Graham Lock (but, even for personal research, I haven't had to go that far--yet...).

Share this post


Link to post
Share on other sites

Posted

(now for the cash...)

:g

Share this post


Link to post
Share on other sites

Posted

I read portions of the writings for some research while in college.

I was confused by his use of the word "vibrational" in a number of different contexts. I even emailed him at his address at Wesleyan. Should have asked him in person when we met at a concert some time ago. He used the word a whole bunch, IIRC.

Did he reply to your email? I was told (by a very reliable source) that he doesn't know how to access his email account. :g

no, he did not. :g

Share this post


Link to post
Share on other sites

Posted

I like Braxton very much personally, but he does not return phone calls, emails, or messages left with third parties -

Share this post


Link to post
Share on other sites

Posted

I was told (by a very reliable source) that he doesn't know how to access his email account.

Was your source Ahmad Chalabi?

(i.e., that claim is false)

'twas one of his beloved students, who was also a close friend of Braxton's assistant, and this person adores the Brax Master.

I emailed Anthony with a question about one of his compositions and never got a reply, which is where my train of thought figures into this. No reply? No biggie, for me, 'cause I LOVE Braxton. I'd eagerly sit down and share a platter of Wimpie burgers with him, and talk the music.

Share this post


Link to post
Share on other sites

Posted

Has anyone tried to translate it from the German?

Share this post


Link to post
Share on other sites

Posted

To better digest the jargon, I've been reading this a paragraph at a sitting, and it makes perfect sense to me.

Braxton understands.

Share this post


Link to post
Share on other sites

Posted

It's been that way for 40 years. Tony's ok.

Share this post


Link to post
Share on other sites

Posted

Say what you will about WB, at least he didn't write like this...

Share this post


Link to post
Share on other sites

Posted

I've never heard Braxton play. And I haven't finished this yet. But I think it's one of the most brilliant bits of writing I've ever come across.

Not to say it isn't wthout flaws.

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).

What I think he means by "western culture" is US culture. He had already noted that western culture includes many different creative affinities, such as Scottish bagpipe music and Alpine music, which are lumped in with "World Music". I think you have to understand that generally what Braxton means when he talks about western culture is US culture (and its overseas extensions).

On page 23, there is what looks to me like a fairly serious display of illogic.

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).

I've not come across a historian of African matters who has made argument (1). Nonetheless, there may be some. However, there is no evidence that there ever was "a unified African aesthetic (center)". But whether there was or not has no bearing on whether there was (or is) "an 'advanced' African culture". Braxton clearly states elsewhere, and I agree 100%, that in this matter, the question of advanced or not is irrelevant. Cultures are what they are now and they were what they were then and they will be what they will be whenever.

Argument (2) does not follow from the general proposition anyway. Once more, I've never seen anyone try to make this argument. They'd make themselves a laughing stock I'm sure. And argument (3) does not follow from argument (2) - again, I can't imagine anyone seriously pretending that it did.

However, despite the illogicalities of this section, I understand very well what Braxton is trying to say. And I agree with it.

I found it very interesting that Braxton's encounter with African music in 1968 led him to these realisations. My own first in depth encounter with African music (different music, I strongly suspect) in 1967 led me to the same ones - though I haven't expressed them in the way Braxton does. :D (It is awfully HARD - as he says - to find words to deal with this issue.) But one of the big problems I do have with this - and with my own ideas, which must necessarily be tentative as a result, is that it all seems too large a task. Braxton notes this himself.

What he is trying to do is to derive a basic cultural aesthetic, valid for humanity as a whole, much as linguistic historians derive proto-languages from an analysis of contemporary language families. If this is even possible, it must be carried through by reference to some kind of representative sample of different cultures. This gives rise to two immense questions. The first is, how can anyone REALLY grasp some other culture? The second is, that Braxton's sample - like mine - focuses on Africa and its diaspora. I KNOW that's as biased a sample as one focusing solely on US culture.

But how to go further? I don't know; I think Braxon has set an impossible task, because the world is too big to grasp. Each of us can only understand a bit of what we can grasp. And furthermore, cultural aesthetic thrusts are not like words that can be written down in dictionaries and compared; or even grammatical concepts. I'll read some more of this tomorrow, but I don't think Braxton is the Noam Chomsky of cultural aesthetics. I seriously doubt whether there CAN be one.

For me, personally, the answer has got to be to grasp what you can; to try to understand what you can; to realise that Aretha Franklin is no less "foreign" or strange than Ganda Fadiga; and neither better nor worse.

MG

Share this post


Link to post
Share on other sites

Posted

What I take away from this writing is that music is spirit, not product, and that nearly all of us have been conditioned to view the spirit throught the lens of product, whether we do it consciously or not. Of course, there is music that is created solely as product, but that itself is a certain kind of spirit at play, no?

I think he's telling us that no matter where we turn, we're confronted with "foreign" sounds, whether it be a Brooklynite hearing Merle Haggard, a jazz fan getting smacked by some hip-hop, an American hearing a Bollywood soundtrack, a raga master composer hearing samba, etc., etc., etc. Our perceptions have been so shaped by the "controlling forces" of our individual societies that it's all but impossible to not hear these "new" sounds as something/anything than the expressions of spirit (and "spirit" is not necessarily a benevolent thing...). Our first instinct is to contextualize them relative to what we "know", which, let's face it, is something that is almost always things we've been "taught" rather than things we've "leaarned" (cf Monday Michiru's opening line to "Mysteries Of Life" - The kind of life I've learned is better than the one I was taught).

Well hey - life is short, time is tight, and if I hear some "strange" sounds coming from someplace in the world that I've never even heard of, much less have a chance in hell of ever even visiting, I can be forgiven for thinkng of it as "exoctic", filing it away and moving on, right?

Yeah, but...

I think Braxton's overriding point to all this is that the same mindset that leads me/us to do that also has an effect on how we process musical information much closer to home, and that does lead to some "problems", doesn't it? Pretty soon, we can find ourselves just hearing all music but "ours" as a "representation" of "somebody else", and that leads us to the unpleasant possibility that maybe what we're hearing/feeling as "ours" is essentially what we've been conditioned to believe is ours. In other words, we've let others define for us who we are, who we should be, and by extension, what our "place" is in this life/world. The implications of that from an economic and spiritual angle are immense, and not a little overwhelming, but there they are nevertheless.

As always, Braxton is talking about macro-social/economic/spiritiual issues in terms of music, and to think that he's making a case for only "higher" forms of music would be a mistake, I believe. Not to in any way diminsh of degrade the notions of "taste", "discernment", etc., but if these forces lead to only an "appreciation" of perceived "sophistication" and a dismissal (or token respect) of "simpler" things, then that again is an incomplete processing of all the information, and creates an eual opportunity for the "highbrow" to be every bit as manipulated/exploited as the "common". It's my belief (and over the years, Braxton has played a huge role in my coming to this belief) that the only true freedom comes in realizing that it is "all good", even if not all "good" is good, if you know what I mean (and if you don't then let me put it this way - there is no such thing as "one side". It's impossible. One side can't exist without another, and it's all part of the whole, which is really all we have, attempts to cherry-pick not withstanding).

Anything less than that sets up a dynamic where we become more concerned about who we "aren't" than who we "are". The literally endless opportunities for manipulation/exploitation that then result should be obvious, and if you look around you, they will be. Braxton's challenging us to not believe the hype, the "knowledge", or anything other than the simple truth that peoples is peoples no matter where they are, not matter what they do, and no matter how they do it. When/if we can get there (and it's by no means easy, even when you want to), then, and only then, will we, all of us, be free to experience life as the eternal vibrational Dance Of One that it is. Until then, we're going to be looking for a way to be "apart", and ultimately, there is no such place.

But there's plenty of people who are more than happy to let you think otherwise...

Share this post


Link to post
Share on other sites

Posted

Of course, the conundrum/challenge is this - how do we realize that we're all part of the whole & function as such w/o relinquishing the individuality that defines us as such?

Well, that's life for ya'!

Share this post


Link to post
Share on other sites

Posted (edited)

For what it's worth, I think Jsngry, clem & MG are all better writers (words) than Braxton whose scribbling I think is atrocious, I do like his playing however...

Edited by danasgoodstuff

Share this post


Link to post
Share on other sites

Posted

Yet Braxton's ideas.....

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!


Register a new account

Sign in

Already have an account? Sign in here.


Sign In Now

  • Recently Browsing   0 members

    No registered users viewing this page.